Fonda Magazine: The Age of Fashion by fondamagazine

Editor-in-Chief ManagerPostiga Djodjo Collaborator/Model Johanna Shipanga Editor/Writer Calvyn Hansen Writer Model Agnes Sekandi Gift Maendo Model Justina Erastus Writer Anitta Calitz Contributing Writer Optimus Namib Production Set Contributor

2 36 CONTENTS

0or's Letter 4

Clutching Pearls

Age of Fashion: Celebrating African ure's Enduring Influence Why Style Trends Always Come Back

onventionally withLuxury Djodjo The SubtleCorporate Things: Quiet tiga x Namafu x Fonda

od For Thought: Psychology of Fashion

s Modern Fashion Cater to The Aging man?

ss-Coded: A Teacher"s V

Evolution of Namibian Cultural re

20 44 32 6 36Letter Editor's

CONTENTS Clutching Pearls

The Age of Fashion: Celebrating African Culture's Enduring Influence Why Style Trends Always Come Back Unconventionally withLuxury Djodjo The SubtleCorporate Things: Quiet Postiga x Namafu x Fonda

Food For Thought: The Psychology of Fashion Does Modern Fashion Cater to The Aging Woman? Dress-Coded: A Teacher"s POV The Evolution of Namibian Cultural Attire

ear Readers,

Age of Fashion is upon us, and we're so excited ebrate it with you! issue is in collaboration with Namafu ography and features a second collaboration – Unconventionally Corporate, with renowned on model Djodjo Postiga. ssue of Fonda Magazine is our second, and it's bout expressing yourself through fashion. We care if you're a young millennial or a baby mer—we want to see what YOU have to say your style. And it doesn't matter if you're a or an artist, either: as long as your fashion sense iquely yours, we want to hear from you. on shouldn't be limited by age or ability.

ope you enjoy this issue as much as we did ng it together. We know you'll find something peaks to your heart within these pages. Fonda -Eliud Andima Editor-In-Chief

ear Readers,

The Age of Fashion is upon us, and we're so excited to celebrate it with you! This issue is in collaboration with Namafu photography and features a second collaboration titled– Unconventionally Corporate, with renowned Fashion model Djodjo Postiga. This issue of Fonda Magazine is our second, and it's all about expressing yourself through fashion. We don't care if you're a young millennial or a baby boomer—we want to see what YOU have to say about your style. And it doesn't matter if you're a CEO or an artist, either: as long as your fashion sense is uniquely yours, we want to hear from you. Fashion shouldn't be limited by age or ability. We hope you enjoy this issue as much as we did putting it together. We know you'll find something that speaks to your heart within these pages. xoxo, Fonda -Eliud Andima Editor-In-Chief

The Age Of FASHION

sent-day runways, thedesigners influencelike of Duro African culture m renowned African fashion has and been enduring force. With its wu, Alphadi, LisaanFolawiyo to global turetep ofinto vibrant colours, intricate patterns, nds embracing designs, the as and the African-inspired captivating world of fashion we embark on a journey ful expressions, aesthetics have ways have becomeAfrican a platform to honour andignited imaginations ofexploring designersthe across the globe. As weof styles, trends, and ate African creativity. ough the ages, incredible tapestry k back, we witness the echoes of African heritage hionistas are embracing Afrocentric prints, pirations that have shaped the industry. In this special issue, we shine a he flowing of ancient the bold the rich heritage of ditional like and andcelebrates tlight onfabrics thesilhouettes Age ofAnkara Fashion, anKente, eraEgypt, that iles West Africa, and the timeless elegance of fashion landscape. ditional jewellery, infusing their wardrobes can of culture and its profound impact on the global asai beadwork. In thethe present age, African fashion and glimpse into an h us a vibrant and eclectic flair. as we delve into past, revel in the present, evolved into aAfrican powerful movement that celebrates the of culture on creativity fashion tingimpact future, where diversity and reign supreme. sn't stop at the present. As we look towards the ure, we anticipate an era that pushes ndaries, defies conventions, and amplifies erse voices. Young African designers are rising rominence, armed with a fusion of traditional hniques and contemporary sensibilities. They redefining the industry, challenging blished norms, and introducing fresh spectives to the global fashion stage. derivatives of African culture can be seen in merous fashion movements, from Afrofuturism he Afrocentric Boho-chic aesthetic. The fashion ustry is embracing the beauty of natural Afroured hair, celebrating diverse body shapes, embracing sustainability by incorporating friendly practices inspired by African ditions.

present-day runways, thedesigners influencelike of Duro African culture From renowned African on fashion has and been enduring force. With its Olowu, Alphadi, LisaanFolawiyo to global mixturetep ofinto vibrant colours, intricate patterns, brands embracing designs, the as and the African-inspired captivating world of fashion we embark on a journey soulful expressions, aesthetics have runways have becomeAfrican a platform to honour andignited the imaginations ofexploring designersthe across the globe. As weof styles, trends, and elevate African creativity. through the ages, incredible tapestry look back, we witness the echoes of African heritage Fashionistas are embracing Afrocentric prints, inspirations that have shaped the industry. In this special issue, we shine a in the flowing of ancient the bold the rich heritage of traditional like and andcelebrates spotlight onfabrics thesilhouettes Age ofAnkara Fashion, anKente, eraEgypt, that textiles of West Africa, and the timeless elegance of fashion landscape. traditional jewellery, infusing their wardrobes African culture and its profound impact on the global Maasai beadwork. In thethe present age, African fashion and glimpse into an with a vibrant and eclectic flair. Join us as we delve into past, revel in the present, has the evolved into aAfrican powerful movement that celebrates But impact of culture on creativity fashion exciting future, where diversity and reign supreme. doesn't stop at the present. As we look towards the future, we anticipate an era that pushes boundaries, defies conventions, and amplifies diverse voices. Young African designers are rising to prominence, armed with a fusion of traditional techniques and contemporary sensibilities. They are redefining the industry, challenging established norms, and introducing fresh perspectives to the global fashion stage. The derivatives of African culture can be seen in numerous fashion movements, from Afrofuturism to the Afrocentric Boho-chic aesthetic. The fashion industry is embracing the beauty of natural Afrotextured hair, celebrating diverse body shapes, and embracing sustainability by incorporating eco-friendly practices inspired by African traditions.

for within inclusivity, Africa representation, and its diaspora.and It'scultural an acknowledgment exchange. African of the found influence that African culture has had, and will continue to have, on the fashion world. o, whether you're a seasoned fashion enthusiast or just starting to plore the world of style, this issue invites you to immerse yourself the beauty, diversity, and creativity of African-inspired fashion. As we honour the Age of Fashion, where past, present, and future generations converge, and African culture takes centre stage, get ready to be inspired, captivated, and enthralled by the enduring allure of fashion's most vibrant and influential era.

for within inclusivity, Africa representation, and its diaspora.and It'scultural an acknowledgment exchange. African of the profound influence that African culture has had, and will continue to have, on the fashion world. So, whether you're a seasoned fashion enthusiast or just starting to explore the world of style, this issue invites you to immerse yourself in the beauty, diversity, and creativity of African-inspired fashion. As we honour the Age of Fashion, where past, present, and future generations converge, and African culture takes centre stage, get ready to be inspired, captivated, and enthralled by the enduring allure of fashion's most vibrant and influential era.

NCONVENTIONALLY ORPORATE n collaboration with

mafu Photography and djo Postigaconventionally Corporate' ms to showcase how porate fashion can be both ative and expressive. shoot features dernized and androgynous es on men's professional porate wear, highlighting onventional styles that llenge traditional norms.

IUNCONVENTIONALLY n collaboration with

CORPORATE Namafu Photography and Djodjo Postiga'Unconventionally Corporate' aims to showcase how corporate fashion can be both creative and expressive. The shoot features modernized and androgynous takes on men's professional corporate wear, highlighting unconventional styles that challenge traditional norms.

ud Andima mafu el/Muse djo Postiga ist encia Shaama tography/Photo Editing mafu ation imus Namib

Eliud Andima Namafu Model/Muse Djodjo Postiga Stylist Valencia Shaama Photography/Photo Editing Namafu Location Optimus Namib

w.fondamagazine.com

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www.fondamagazine.com

Corporate

The P Psychology FASHION of

OOD FOR THOUGHT

consciously ple drefore, experiences around we can us, come hence seeup that with our there ourisown a direct correlation between fashion and identity.

riter s and identity. Fashion is gements ironments ict Similarly, the strong of others greatly there based are determine links on our between own fashion and mood. Our fashion choices have as aof form ofchoices. self-expression, mories, chological cts fashion clothing beliefs impacts andMainstream on experiences. us and theThis people around us, what we wear affects how we way we dress tells a story ough gment feel ure tends about the is a to survival ourselves promptmechanism people, and others.that Fashion humans can even determine what type of people t who we are.

ecially ception e had for adolescents ofthousands and of years youngand is out of and experiences you attract. ers. lts, control. to follow Consequently, trends in order there are numerous There are many factors that influence the way we dress, although, we are mainly ple t it or who to understand gain color The psychology and includes our environment, culture and influenced byattention. our personal lifestyles. This ception it to their of advantage what we wear when can styling their religion. dhes. to either a positive or ative bias. human mind is immensely sensitive to r.

The P Psychology FASHION of FOOD FOR THOUGHT

lived people subconsciously Therefore, experiences around we can us, come hence seeup that with our there ourisown a direct correlation between fashion and identity. Writer states and identity. Fashion is environments judgements depict Similarly, the strong of others greatly there based are determine links on our between own fashion and mood. Our fashion choices have used as aof form ofchoices. self-expression, our memories, effects psychological fashion clothing beliefs impacts andMainstream on experiences. us and theThis people around us, what we wear affects how we the way we dress tells a story culture judgment through feel tends about the is a to survival ourselves promptmechanism people, and others.that Fashion humans can even determine what type of people about who we are. especially have perception had for adolescents ofthousands and of years youngand is out of and experiences you attract. adults, our others. control. to follow Consequently, trends in order there are numerous There are many factors that influence the way we dress, although, we are mainly to fit people it or who to understand gain color The psychology and includes our environment, culture and influenced byattention. our personal lifestyles. This perception use it to their of advantage what we wear when can styling their religion. lead to either a positive or clothes. negative bias. The human mind is immensely sensitive to color.

learn that different colors evoke fferent emotions. In fact, 62-90% of a first impression is due to colors. Wearing brighter colors make more sitive impressions, whereas wearing neutral colors make more negative impressions. Also, the color red has been scientifically proven to entice a ing of urgency. Wearing hints of red, women, and blue, for men, lead to a her chance of stronger feelings and a cond date. People who wear black to erviews are more likely to get the job cause black portrays confidence and elegance. So, if you want to feel powerful, wear black! Interestingly, a mber of studies have shown that the color yellow can evoke nausea and izziness. On the contrary, yellow can indicate optimism, energy and enthusiasm. Each color has a unique meaning but it all boils down to perception. Colors can be used as a window into our feelings and moods. e way we pick what we wear is quite entional because when we look good, we feel good! For instance, getting a haircut the day of a job interview or wearing your favorite blazer will heighten your mood and boost your onfidence. The neurotransmitter that is known as dopamine causes this reaction.

Ultimately, clothing allows us to showcase our personalities, it influences our perception of self and how we are perceived by others. lothing is a reflection of one’s values, ntity and social status. Each clothing piece we choose to wear serves as a representation of our current beliefs, thoughts and emotions.

learn that different colors evoke different emotions. In fact, 62-90% of a first impression is due to colors. Wearing brighter colors make more positive impressions, whereas wearing neutral colors make more negative impressions. Also, the color red has been scientifically proven to entice a feeling of urgency. Wearing hints of red, for women, and blue, for men, lead to a higher chance of stronger feelings and a second date. People who wear black to interviews are more likely to get the job because black portrays confidence and elegance. So, if you want to feel powerful, wear black! Interestingly, a number of studies have shown that the color yellow can evoke nausea and dizziness. On the contrary, yellow can indicate optimism, energy and enthusiasm. Each color has a unique meaning but it all boils down to perception. Colors can be used as a window into our feelings and moods. The way we pick what we wear is quite intentional because when we look good, we feel good! For instance, getting a haircut the day of a job interview or wearing your favorite blazer will heighten your mood and boost your confidence. The neurotransmitter that is known as dopamine causes this reaction. Ultimately, clothing allows us to showcase our personalities, it influences our perception of self and how we are perceived by others. Clothing is a reflection of one’s values, identity and social status. Each clothing piece we choose to wear serves as a representation of our current beliefs, thoughts and emotions.

oes Modern Fashion W ater To The Aging true consensus with regard to fashion and the ageing

don't think that that is the case. n? hen ordinary me thinks think however that the older en geta picture the less they are hion, of that young models sented fashion. nd off in the runway comes to . I think Zoe Kravitz, Zendaya, shion is art, Bella, and we a Nepembe, the all list have goes art inmodels, us, why then does Ait unway insta models, what fadeinfluencers as we age?and Why do elebrities, even en lose touch of women their artare or is it e streetyoung the the of fashion somewhat tion fashionscene as we know it. mes a distant memory as life mes more intense? I think, what about mature oes fashion simply notand represent women and fashion, when red women welltalking enough for fashion I'm not about to remainand engaged? Wintour the likes. I mean although I can't answer much en who are not necessarily at e matter,of fashion but are mere orefront 'm enthusiasts. eager to understand why on Older women womens fashionto be an incredible love tends for fashion ooked. are comfortable expressing it, en with an iconic sense of on, women who have unique unaltered sense of style. Who s to mind? I think along and very hard.

Woman?

orm n extremely to scrutinise expressive most sense of fashion. ially Shethe is not fashion scared industry, of bold colours, large dering statement that this pieces, is a feathers, enormous on sunglasses, magazine. One large cannot bangles, dazzles and but mmers, wonder the if epitome older of a maximalist. At en the are age considered of 101- her an fashion can still be described rtant or worthy in two as bold and daring, rare ographic rds to describe in the fashion for older women. contrast . The questions 91 year that old supermodel may Carmen ver ’órefice the reality is a true ofstyle fashion icon, her fashion is erce, geingelegant, womensophisticated, remain majestic and sy. swered: Carmen What Dell’órefice is the true has had issues in ensus past finding with regard herselftoand her identity. It is wever on andapparent the ageing that she has always been en? elegant And toeven whatinextent her youth and she has maintained fashion completely her elegance even during her gard mostthe matured ageingyears. women? I figured it is worth whynoting are older older women women not who continue to mbrace sented in fashion the fashion as an example that it is a ncept zinesthat andis runways? not far fetched. After The contrast ese yle of areCarmen the blueprints and Iristhat is one that should elebrated. us in terms Two of how Ageing to women with two erent tatements stylesand ,unapologetically what is in expressed. This n. should serve as an example that age s not take away from our intrinsic sense of style and if anything more than ever embrace fashion as you age!

platform an extremely to scrutinise expressive most sense of fashion. especially Shethe is not fashion scared industry, of bold colours, large considering statement that this pieces, is a feathers, enormous fashion sunglasses, magazine. One large cannot bangles, dazzles and help shimmers, but wonder the if epitome older of a maximalist. At women the are age considered of 101- her an fashion can still be important described or worthy in two as bold and daring, rare demographic words to describe in the fashion for older women. scene. In contrast The questions 91 year that old supermodel may Carmen uncover Dell’órefice the reality is a true ofstyle fashion icon, her fashion is andfierce, ageingelegant, womensophisticated, remain majestic and unanswered: classy. Carmen What Dell’órefice is the true has had issues in consensus the past finding with regard herselftoand her identity. It is fashion however andapparent the ageing that she has always been women? elegant And toeven whatinextent her youth and she has doesmaintained fashion completely her elegance even during her disregard mostthe matured ageingyears. women? I figured it is worth And whynoting are older older women women not who continue to represented embracein fashion the fashion as an example that it is a magazines concept that andis runways? not far fetched. After The contrast all inthese style of areCarmen the blueprints and Iristhat is one that should guide be celebrated. us in terms Two of how Ageing to women with two pair different statements stylesand ,unapologetically what is in expressed. season. This should serve as an example that age does not take away from our intrinsic sense of style and if anything more than ever embrace fashion as you age!

A Teacher's POV T DRESS CODED

tually highschool displays english themselves teacher, inholds a school much se more ing? signiﬁcance than what one may think.

he school uniform is compulsory in Namibian

ernment - and some private - schools. While ntless learners complain and dislike the uniform, a crucial element in their academic success. uniform creates equality; no matter the financial ocial status of a learner, everyone is equal when ring the uniform. Not only does this uniformity uce the potential for bullying (when it comes to nomic factors), it brings people of different kgrounds together. w? This is where psychology comes in. According study done by the University of York, when we a person, it takes just 33 to 100 milliseconds to m a first impression. Further research suggests we are more attracted to people who are similar s.

A Teacher's POV T DRESS CODED

asactually a highschool displays english themselves teacher, inholds a school much se more ing? signiﬁcance than what one may think.

he school uniform is compulsory in Namibian

government - and some private - schools. While countless learners complain and dislike the uniform, it is a crucial element in their academic success. The uniform creates equality; no matter the financial or social status of a learner, everyone is equal when wearing the uniform. Not only does this uniformity reduce the potential for bullying (when it comes to economic factors), it brings people of different backgrounds together. How? This is where psychology comes in. According to a study done by the University of York, when we see a person, it takes just 33 to 100 milliseconds to form a first impression. Further research suggests that we are more attracted to people who are similar to us.

ightly hey orm decide know are disappointed. howlikely Ito want wear Ito wondered toform abe tiepants, friendships, why I had regardless toWhile dress some like of their a older man background. to be respected, ce wore amore dress shirt, office and a tie. female rectly? eated ching in tolerance Ismy theclassroom. shirt is crucial tucked Doin? toI fostering teamwork and especially unity. by male learners. hers seemed uncomfortable at my choice of dress, I had, possibly, the best want their toclothes bethe ignored cleancommit and and deal ironed? do notnot only necessarily uniform itself myself that has to an a specific impact style; on how sometimes we perceive I want others, to wear th hese rolling factors eyes, contribute or do I want to how pants, sometimes a pencil skirt, sometimes I feel comfortable in jogging pants arner y learners is perceived. to sit up straight and an oversized hoodie. and enthusiastically my experience as a teacher, I participate? e noticed that troublemakers ain, berately how break you dress uniform matters. rules. yarners most likely will decide want to whether challenge status a quo teacher by refusing is organized, to mpetent form to societal and capable expectations. just by y how blatantly the teacher disrespect is dressed. authority en howing they decide up in jogging to breakpants the lls s. Little the learners do theythat know youare that this otages laid back anyand meaningful will probably end tionships some rules. they could If your have hairhad h is their a mess, educators. the learners will thinkthe you’re a mess. If you aring uniform directly consistently wear the same cts a child’s behavior in class. tyleare of professional clothes, hey neat and come to school will know hthe thelearners idea that they are that u stickrules to thealready rules and that owing when there is no wiggle room forthe ing dressed, they maintain challenge you; so they am ofto neatness and order within won’t even“Casual bother.days” Whilebring I classroom. thatchaos the psychology utdoubt the most during the behind the school ool day. This is whyuniform was considered when nstakingly enforcing the dress implementing thisthey ruleslack. in e is vital: you slack, Namibian it isuniform clear only doesschools, the school at the uniform is important. uence the behaviour of hildren and ners, but theteenagers teacher’s need dress ructure inas a classroom e has anand, effect well. As a of 38-50 learners, her, I have noticedteachers that my needmasculine order. ice of feminine and

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In recent years, however, traditional tedDeon to fashion.In 2016 MTC debuted bian attire has been modernized and Angelo orated intowindhoek global high-fashion ery first fashionstyles. week. s a great way to bring some of the showcased some ofresttheir yners and culture ofhas Namibia to the of amibia an exceptionally Image By orld. work with inspiration from

NAMIBIAN CULTURAL ATTIRE

Tuva Wolf ral from theinprint, material rfulattires, flag, colourful the sense that styling this wasand only the ome to soand many unique diverse space was created sning, and aethnicities. Every tribe to in eciate designers and bia hasNamibian its own unique print which ect connoisseurs. But it s asfashion an identity to distinguish it changed theInway attire is the next. thecultural past Namibian ed. Fashion attires week and embraced ral/ traditional prints bian cultural attire from simply used and worn fordifferent cultural sslike never seenstrictly before.worn by the and rituals, e belonging to the specific tribe, original Namibian cultural uched and unexplored by anyattires other as the odelela print, herero dress and for any other reason other the Nama/Damara designs are cultural festivities. Spotting a Nama ming more and more ona n an odelela skirt wasnoticeable unheard of, andwill. everyday fashion but then. with oays if you But alas, that was changes a modern touch to es, has beenand a shift over the years. .Traditional attire prints have shift marked the and beginning of a me muse Namibia. to designers, inspiring rallyaunited tions. the years we have seen shift Over from an isolated and nificent collections by talented pendent cultural experience to a ners such as intertwined Deon Angelo,cultural one of flexible, bia's celebrating most talented fashion rience, and appreciating ners who continuously showcases other's cultures, learning about the delela print in his re, the practices, the designs, language,paying the age to his ovambo roots. He even nted the acclaimed Burna boy an astonishing trench coat during ecent visit to Namibia. The odelela is by far the most explored cultural it is a beautiful bright pink that s in pigmentation as well as in the r of the stripes.

dress. In recent years, however, traditional

creditedDeon to fashion.In 2016 MTC debuted Namibian attire has been modernized and Angelo incorporated intowindhoek global high-fashion the very first fashionstyles. week. This is a great way to bring some of the Designers showcased some ofresttheir beauty and culture ofhas Namibia to the of amibia an exceptionally Image By the world. finest work with inspiration from Tuva Wolf cultural from theinprint, material colourfulattires, flag, colourful the sense that and styling this wasand only the it is home to soand many unique diverse beginning, space was created tribes and aethnicities. Every tribe to in appreciate designers and Namibia hasNamibian its own unique print which connect connoisseurs. But it serves asfashion an identity to distinguish it also theInway attire is fromchanged the next. thecultural past Namibian viewed. Fashion attires week and embraced cultural/ traditional prints Namibian cultural attire from were simply used and worn fordifferent cultural tribes never seenstrictly before.worn by the eventslike and rituals, people belonging to the specific tribe, The original Namibian cultural untouched and unexplored by anyattires other such as the odelela print, herero dress tribe and for any other reason other and the Nama/Damara designs are than cultural festivities. Spotting a Nama becoming more and more ona lady in an odelela skirt wasnoticeable unheard of, runways andwill. everyday fashion but then. with taboo if you But alas, that was twists, changes a modern touch to There has beenand a shift over the years. them.Traditional attire prints have This shift marked the and beginning of a become muse Namibia. to designers, inspiring culturallyaunited collections. the years we have seen The shift Over from an isolated and magnificent collections by talented independent cultural experience to a designers such as intertwined Deon Angelo,cultural one of more flexible, Namibia's most talented fashion experience, celebrating and appreciating designers who continuously showcases each other's cultures, learning about the the odelela print in his culture, the practices, the designs, language,paying the homage to his ovambo roots. He even presented the acclaimed Burna boy with an astonishing trench coat during his recent visit to Namibia. The odelela print is by far the most explored cultural print, it is a beautiful bright pink that varies in pigmentation as well as in the colour of the stripes.

NAMIBIAN CULTURAL ATTIRE

Deon Angelo la print as well as gives it an elegant feel worthy of the runway is what makes esigns extremely alluring.

Image by Tuva Wolf

comes to show that designers are creating masterpieces that communicate hare Namibian traditional wear. Appreciating our cultures is one way to share our pride with the rest of the world. Designers and ordinary people are creating a variety of clothing consisting of or with a touch of cultural s and material, from elegant garments for events such as weddings and on events to streetwear.

rospect, culture and fashion should not be separate entities considering that are both art and socially constructed, they both influence solidarity and create se of belonging. In that context culture and fashion are more alike than we o acknowledge.

Deon Angelo odelela print as well as gives it an elegant feel worthy of the runway is what makes his designs extremely alluring. Image by Tuva Wolf

This comes to show that designers are creating masterpieces that communicate and share Namibian traditional wear. Appreciating our cultures is one way to truly share our pride with the rest of the world. Designers and ordinary people alike are creating a variety of clothing consisting of or with a touch of cultural prints and material, from elegant garments for events such as weddings and fashion events to streetwear. In introspect, culture and fashion should not be separate entities considering that they are both art and socially constructed, they both influence solidarity and create a sense of belonging. In that context culture and fashion are more alike than we care to acknowledge.

CLUTCHING P PEARLS

rls unlikely to er became the idea of matriarchal e been worn by men, power but right now.” have been recognized ~Prabal Gurung herearls women, as societal spectives resulted in the an accessory that allow rls femininity rer signifying to feel regal and classy. werecome often s may as associated no surprise as hrls grace as welloriginally as were jewels ance.exclusively In more recent n by the es fashion forward hyperwho tocrats and people culinepowerful male celebrities, ined positions in hety.as One A$AP ofRocky the and earliest rrell Williams, oductions of pearlshave to the n seen drenched hion industry originatesinfrom rls which nese and sparked Indian debate men, who cerning men in pearls. e kingstoor rulers of their s, creating This gem an of pective regions. osphere royals waswhere a style pearls or part of e beenthat reserved for the to attire later traveled oyment of their female tern parts of the world, nterparts. ere its Regardless meaning of and ,ificance pearls have been a long in changed ing fashion moment ration to the set of context fade foreign in and parts. out of dch in more ularity, however remain taple in many jewelry es.

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Fashion Trends: Why They Always Return

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ntities at a higher price. Secondly, the new style starts gaining traction the consumer demand drastically increases. Thirdly, the trend has ched full saturation.

ur everyday consumer has hopped onto the style trend. It will be available arge quantities and at low prices. Thereafter, the style trend will become rsaturated. Consumers will begin to seek out more unique styles and es. Lastly, the obsolescence stage is when the style trend has officially ched the end of its lifecycle. It is regarded as outdated according to nstream fashion standards. This trend will later come back into the hion world and therefore, the trend life-cycle repeats itself.

re are various reasons as to why a trend cycle will repeat itself. One of reasons for this is that children and designers often take inspiration from r parents' closets. As aforementioned, technological advances contribute he constant ever-changing trend cycles via the access to seemingly mited amounts of media, film and magazines that were created in earlier erations. Furthermore, social media has largely contributed to the rapid and fall of trend life-cycles through its accessibility factor.

hion trends are widely influenced by celebrities, popular personalities, al media influencers and bloggers. The 4 major fashion capitals, namely, w York, Paris, London and Milan, also highly contribute to what’s in and at’s out. Fashion brands and designers take more calculated choices when oducing new trends to the public. The recycling of fashion trends allow favorite pieces to stay relevant even after much time has passed.

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The Things: QUIET LUXURY T Subtle

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