FRAY MAGAZINE - Rogue

Photographed by: Jasmin Wong

T A B L E O F

Walk of Shame – Alex Ober

Stacked – Xandra Chen & Anika Kewalramani

Dystopian – Erick Buendia

Stellar – Cate Baldwin

Visual Manifestos: What the Fashion of the ‘Rogues’ of America’s Past Can Tell us About Our Present – Liam

Dorrien

Frontier – Mikail Haroon

C O N T E N T S

Teenage Sport – Sophie Clapacs Subverting Subversion–Adi Lurvey & Jingling Liu IRE–Tasmiah Akter Fashion or: How I Learned to Stop Worrying About and Loving Microtrends – Mia Foster Mossiah – Lena Weiman & Cecilia Dondorful-Amos Collect / Renew – Emma Steckline Unbound – Alexis Gerwe Fatal Femmes –Caroline Johnson

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STACKED

Lauren

Berthoumieux Kofi Agyei-Yeboah

Jacob Carton Ayer Richmond Isa Miranda Noor Valvani

Swaraj Rai Will Lee Emmett Levy

Ula Pranevicius Xandra Chen Anika Kewalramani a video project by Anika Kewalramani and Xandra Chen

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Model: Stella Tannen Director / Editor: Cate Baldwin Photographer: Lilly Hoefflin

T E

L L A R

frontier

by mikail haroon

creative direction by mikail haroon photography by owen forbes modeling by anika kewalramani, sita mcguire, and ricky liu

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With Cleo Riley, Darius Nabers, and Reese Chahal

Teenage Sport

Sophie Clapacs

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Subverting Subversion

By Adi Lurvey & Jingling Liu

“Rogue” fashion allows people to explore fashion as a way to subvert the established social order, expanding modes of expression through fashion. But how much can the people who benefit from the world's social order truly subvert it? Rogue fashion, for rich white people, often entails appropriating designs from other cultures or elevating working-class functional aesthetics, as a form of subversion. When rich white people take these styles and market them or try to bring them into their norm, they undermine any sense of subversion by making them highend.

Rogue fashion for the wealthy has a variety of different looks, but this past year the tabi shoe design took off considerably. Tabi shoes are a style of footwear with a split between the big toe and the rest of the toes, reminiscent of a hoove. Though these Tabi’s now go for upwards of $1000, their inspiration, Jika-tabi shoes, have been commonly used as footwear for construction workers, farmers, gardeners, and other laborers in Japan.

Tabis

Jaka-Tabi shoes allowed workers to be able to grip the ground while walking, allowing for more delicate and dexterous movements while simultaneously still being able to protect the foot. Jika-Tabi’s have been made out of a variety of different materials to individual worker’s needs; some are made purely out of rubber and are high kneed to best suit workers in rice fields and wet or muddy conditions, while others are made out of cloth and are more commonly used for exercise.

These shoes began their rise to fame in 1988 when Maison Martin Margiela, a luxury French designer, debuted the style in his first show. Margiela claims the Tabi “captures the avant-garde and insubordinate spirit of the Maison,” While the Maison claims the spirit of subversion, there is nothing inherently subversive about this Japanese shoe design other than its lack of prevalence in Western culture prior. By bringing Tabi’s into the mainstream as something that is both meant to be subversive and also inaccessible due to its status as high fashion, there is no doubt that Tabis have lost most of their original functionality. A style that initially started as working-class functional wear became appropriated by highend fashion designers, and has become neither functional nor accessible.

Denim

This trend extends beyond just Tabi’s and even to America’s quintessential pants—jeans. Jeans were initially adopted as the primary workwear of western cowboys, farmers, and railway workers in the US due to their unique durability and functional design. Denim eventually morphed into a symbol of youth rebellion movements, early punks would tear their jeans as a form of expressing their anger towards capitalism and corporate greed, starting the first designs of distressed denim. Ironically, corporations are selling jeans pre-distressed and pre-ripped, completely undermining their original meaning; these mass corporations benefit from the exploitation of the working class. As the roots of these trends get covered up by clothing brands, the trends morph into clothing corporations simply mimicking working-class appearances.

Brands like JNCOs, Diesel, True Religion, and even more commercial stores like Urban Outfitters all take inspiration from lower-class fashion trends and market to upper and middleclass suburban teens who have never had to experience the reality of being lower or workingclass. When upper or middleclass teens use jeans as a mode of rebellion without understanding these systemic concepts they appropriate lower class aesthetics they equivalent their general teen angst with the experience of classism.

Couture

The romanticization of poverty extends to the extreme in high fashion through mimicking the look of homelessness. Couture fashion designers for Dior have professed they take their inspiration from the homeless people whom they encounter on the street, as well as other companies like Yeezeys or N. Hollywood describes trying to mimic homelessness in their runway shows for NYFW. Rather than these designers making an effort to talk to the people they’re taking inspiration from, they simply observe their attire. The homeless aren’t trying to be fashionable. They’re trying to survive, and designers reduce the purpose of their clothing to an aesthetic choice. People who are homeless have to appear housed to attend things like job interviews or more professional settings, whereas people wearing the “homeless aesthetic” can put on and take off their clothes at will. These designers seem to display an incredible lack of empathy for the homeless and a lack of self-awareness about their social position. While it is possible to use “rogue” styles as a form of protest or rebellion, it is important to reflect on what is being rebelled against, and through what modes. Rogue fashion often entails rich people taking lower class aesthetics, ignoring the purpose behind the clothing, and reducing the realities of existing as lower class in a classist society boiling it down to something that can be romanticized on a Pinterest board.

Models:IshaBah,DikshyaKuikel,PriyanshuPokhrel Makeup:LaurenSchweitzer Producedby:VictoriaCornejo

Photographer:ErickBuendia Editors:ErickBuendia&TasmiahAkter

by Mia Foster

COLLECT/RENEW COLLECT/RENEW

Creative Director: Emma Steckline Photographer: Jenny Ongele Makeup/Styling: Jazmin Alvarez Produced by: Victoria Cornejo

Models: Hazel Allison-Way, Tanvi Navile, Felicity Guevara, Jo Harkless, Will Lee

FATAL FEMMES

THE MISANDRY

ROCK N ROLL ROGUES

REDEFINE THE GENRE

One girl group has risen to claim power over the punk rock scene. Hide your husbands and boyfriends, the MANEATERZ draw in hundreds of adoring groupies to each performance with a reputation that might be too X-rated even for us. The girls quickly reached the top of the rock charts with their raw talent and scandalous performance, and have drawn in quite the loyal fanbase. When asked about the constant droves of men flocking to their performances, one member stated “bring ’em on, themorethemerrier.”

roupies found TERZ concert er or not it’s an issue that this band of hot women are objectifying their mass amounts of devotee men. A groupie found waiting for the drummer outside of the bathroom states, “Personally, I love getting objectified”.

CREATIVE DIRECTOR: CAROLINE JOHNSON | PHOTOGRAPHER: MILES URBAN | PRODUCED BY:

Fray Magazine

VICTORIA CORNEJO

PICTURED: HARMONY HOOGS, MAE COHEN, REY ALVAREZ, CECELIA DONDORFUL-AMOS, GINEVRA GILMORE, BETO VALDEZ, JAY WATSON, WILL LEE, NOLAN LEWIS, REX HECHTER