George Issue I

george

spring 2019

social media’s impact on the pace of fashion androgyny on the runway defying the fashion norms.

why fashion shows have become crazy spectacles

carolina garcia & suraya salfiti

diet prada

the leading news outlet for all of the fashion tea.

fashion disrupters a movement that spreads far beyond the runway.

meet the women behind the organization.

issue no. 1

“I don’t do fashion” Designed by Cali Arguello

george Spring 2019

3 Masthead

16 Iris Van Herper: A Fashion Disruptur

4 Editor’s Letter

19 Androgyny on the Runway: Margiela Defies Norms in 2019 Collection

5 How Two Girls from Different Cultures Brought Fashion to GW

21 The Evolution of the Runway Show

11 The Wrath of Diet Prada

23 Social Media’s Impact on the Pace of Fashion

13 The Genius of Kim Jones

25 Diversity and the New Path in British Vogue

page 2

george Spring 2019

Editor-in-Chief Alexandra Lange Creative Director Cali Arguello President Carolina Garcia Vice- President Suraya Salfiti Treasurer Farid Khreino Secretary Juliana Solorzano Events Director Victoria Hinestroza VP of Marketing Natalie Yaplee Senior Advisor Kimberly Ndubizu

Creative Alex Frieder Athina Hostelet Andrea Kang Connor Gable Grace Demeritt Lily Duggan Nicole Pollack Olivia Tirmonia Sydney Grey Content Aminat Amoo Aaron Mancus Dex Frederick Hana Chabinsky Ireti Akinde Kelsey Mcevoy Lauren Ofman Zahra Rae Events Aarushi Lakhotia Ana Gomez Alexandra Selman Ennis Washington Gustavo Martinez Joy Kayode Natalia Larach Omotinuolawa Aina

page 3

Letter from Editor

Welcome to the inaugural issue of george

photos by Cali Arguello

It has been almost impossible to get myself to sit down and write this. Not because I am lazy, or too busy, or whatever excuse you use to get out of going on a date with the kid from your stat class, but because I don’t think it is possible to sum up my experience with GWFBA in a short letter. Attempting to verbalize the the talent, creativity and hard work that has gone into this publication is a challenging task; thankfully, the work truly speaks for itself.

Designers are abandoning the norms of the industry and cultivating the future of fashion. In this issue, we detail some of the most influential rebels of our time like Iris Van Herpen and Kim Jones.

We address how the fashion industry is being redefined as whole, from concept of the fashion show to the art of marketing. Additionally, we take a look at how this dynamic affects the consumer and the media.

For many of you, this may be first time you have held a print magazine in a while. Like, who prints anymore?!?!!!!!!! As a magazine collector myself, I believe that a physical magazine allows you to capture a moment in time in a way that no other form of media can.

Instagram is the new Vogue- we look to it for fashion trends, celebrity news and style inspiration, but it is constantly on the move--literally. Don’t get me wrong, I love Instagram, but there is something so unsatisfying about being able to constantly refresh: nothing is concrete. Everything is ephemeral. With George, we hope you take the time to experience the enduring images and the tangibility you get only from holding a magazine.

This issue of George also features an exclusive interview with the co-founders of GWFBA, and sheds light on the mission behind the organization. We see ourselves at GWFBA as the rebels of GWSB. Before us, there was no fashion presence on campus, and with the growth and success of our organization, it has become evident that there is interest. Rather than accepting what was given to us,

The premier issue of George focuses on the idea of fashion disruption, a movement that spreads far beyond the runway. The fashion industry has a deep rooted reputation of being elitist and exclusive (special thanks to The Devil Wears Prada). While of course there is some truth to that, fashion is an art form before anything else. And just like any other art form, fashion only evolves when artists push boundaries.

We hope that this magazine gives insight into the knowledge and appreciation that GW students have for fashion. We hope George will acts as a centerpiece, showcasing the creativity and intelligence within our organization.

We are innovators.

We are disruptors.

We are george.

- Alexandra Lange

How Two Girls From Different Cultures Brought

Fashion

to GW

by Lauren Ofman

Carolina Garcia, a junior from Miami, majoring in Business and Suraya Salfiti, a junior from Jordan majoring in International Affairs joined forces in spring of 2018 to bring the fashion world to GW by creating the GW Fashion Business Association.

Driven by the minimal fashion presence on campus, Garcia felt she had an obligation to combine her two passions of fashion and business to fill a gap in GW student life. She knew that there was a need for a fashion-centered student organization, but no one had made the leap to start one. When Garcia sought help from Salfiti, the two created a plan that involved merging opportunities for professional development and event planning with content creation and social media.

In its first year on campus, over 200 people expressed interest in GWFBA, confirming Garcia and Salfiti’s decision to commit to the organization. After hiring an impressive Executive Board and receiving dozens of applications from prospective members, the founders narrowed their pool and organized new members into teams: content, social media, and events. They continue to search for talented members to help fulfil the mission of GWFBA through various creative mediums, as well as cultivate a strong alumni network that they hope to be a part of after they graduate.

page 5

Here, President Garcia and Vice President Salfiti speak about how they accomplished their mission of bringing fashion to GW: How is it working in the fashion world in DC, a city known for politics, not necessarily recognized for fashion when it comes to making connections?

Carolina: I think being in D.C. does limit us.There are people within the city that can relate to what we are trying to do in the industries we are working with, but definitely not enough. It’s harder to come into contact with [people like this] just because a lot of them are in bigger cities where fashion is more of topic of conversation.It does become harder to facilitate and get designers on board or keynote speakers to come and speak, so as far as that goes, yes, it’s pretty difficult because D.C. is not a known city for fashion.

Suraya: Also, since D.C. is more oriented to business and politics, people see fashion as a secondary subject.So another big goal of ours was to explain that this industry is just as legitimate as studying finance, and you can probably make more money in [fashion] in D.C. than other cities, since there is less competition and more opportunities to go up in the ranks.

Carolina Garcia & Suraya Salfiti Photos by Cali Arguello

Y

ou are both very organized, what was your mindset when it came to starting an org?

Carolina: Especially when you’re an executive role from the start, there is always a level of self-doubt.

The main reason I first approached Suraya was because my Dad taught me this little quote,

‘surround yourself with people who do well what you don’t.’

Suraya and I are a good team because we compliment each other, we don’t do the same thing and we aren’t good at the same thing.

So throughout the process we have focused on hiring people who are good at things that we are not, and that’s how we formed our executive board. I think it’s helped a lot in distributing work.

The less work we have to do means that we are doing a better job at making our teams and we aren’t micromanaging anyone.

Suraya: Caro told me from the beginning to, ‘hire people who are going to do what you can’t.’

page 7

For me, hiring people who I thought were more talented than me in terms of everything: creative curation, taste, people who dressed better than me, people who were better than me at other subjects, was such an empowering idea. My job is not to give people things to do, it’s to further our larger goals, and I’m here to facilitate that.

What’s one thing you want the readers to know?

Carolina: Don’t be afraid to do something just because no one else has done it. This goes along with the idea of making yourself feel uncomfortable.

Someone once told me that success happens when you are most uncomfortable, so constantly work to make yourself uncomfortable because that’s when you’re pushing yourself and making things happen. Work on taking that first step and if you fail, you fail, but most of the time you will surprise yourself and the people around you.

Suraya: Starting FBA was a shot in the dark for me.

I never thought of myself as someone who was especially fashionable or especially creative, but I think this is something that I want to do for the rest of my life. Don’t hold yourself back and say that something isn’t part of your plan. I am a person who suffers from being super planned about my whole life.

If an opportunity presents itself, go for it.

Where do you see FBA going and what do you hope to see develop in the future?

Carolina: My dream would be for FBA to become a direct channel between GW students and recruiters in the world of fashion. I'd love for FBA to be recognized among recruiters as an org that provides great talent, dedication, and drive.

Eventually, I would love to be part of the FBA Advisory Board, and have a group of mentors that continuously work with FBA and GW to help students start theircareers in the world of fashion, luxury, and design.

I believe GW has extremely talented students and hopefully

fully FBA is able to foster theirs talents and create new skills that allow its members to be successful in anything they decide to do.

Suraya: I see it as a resource of professional development for all students at GW who want to work in fashion. I hope it continues to grow and evolve into a hub for recruiters in the fashion industry that GWFBA becomes a channel for recruiters in the industry.

Carolina Garcia & Suraya Salfiti Photos by Cali Arguello

“Don’t be afraid to do something just because no one else has done it.”

The Wrath of Diet Prada

by Alex Frieder

F

or some, social media is a medium of self-expression or informal communication.

However, for others it is often more pervasive than positive, intensifying insecurities and feelings of dissatisfaction.

Social media, and more specifically, Instagram has spiraled into something so much greater than simply a “video and social networking service,” as its description pronounces. Instagram has become absolutely vital to building and maintaining any brand, and the influence of Instagram continued to exceed all expectations. Instagram acts as a resource for inspiration, recommendations, aspirations, exercise routines, vacation destinations… the list goes on and on. However, as a society, we are increasingly using social media as our primary news outlet for all happenings in the world.

page 11

If you are someone who prides yourself on your fashion knowledge, chances are you know of @Diet_Prada, the fashion industry’s most feared Instagram account and leading news outlet for all of the fashion tea.

In 2014, Tony Liu and Lindsey Schuyler, the infamous duo behind Diet Prada, began calling out designers and brands for knocking each other off. Since their initial post, juxtaposing a Dior Pre-Fall 2015 coat by Raf Simons against a Prada Fall/ Winter 2014 one, the two have amassed a following of more than 1.2 million, but more powerful than their following is their unparalleled influence over the entire industry.

Many fashion lovers have long been skeptical of traditional fashion news outlets and critics, who seemingly review in favor of brands or collections in exchange of extravagant gifts.

Diet Prada had seemed to fill that void for uninfluenced fashion commentary, disrupting

“the original imitator.”

the fashion community at large.

Offering an unapologetic and totally unfiltered approach to the most controversial of topics, Diet Prada has emerged as an industry juggernaut.

Tony Liu and Lindsey Schuyler met while working entry-level positions at Eugenia Kim, a New York City based accessories designer known for her expansive line of eclectic hats.

The two felt constrained and unsatisfied working for the designer, spending much of their time researching the work of others to help stimulate creativity within the brand. The two left the brand in 2015 soon after starting Diet Prada, named in honor of their fashion empress Miuccia Prada and Diet Coke, Diet Prada has invigorated audiences since its inception, spewing impressive fashion knowledge and history in a causal, sensationalist manner that is just as informative, as it is digestible and provocative, impelling “Dieters” to discuss. Diet Prada’s success was not immediate; after nearly two years of offering cheeky commentary,

Liu and Schuyler were elated to have amassed 1000 followers, which by today’s standards does not seem too impressive.

Part of the initial appeal of Diet Prada was perhaps the implicit authenticity of anonymity. How could an Instagram account be influenced by money if nobody knew who the mysterious account actually was?

It was not until October 2017 when the Fashion Law, another fashion disrupter and industry watchdog, exposed the two behind the account. The duo confessed their intentions to turn Diet Prada into a business and expressed the obvious challenge of accomplishing that endeavor without putting a face to their name.

In the last year alone, Diet Prada has grown exponentially, amassing nearly 1 million followers since last April, boasting an impressive following of important industry people including models, artists, and designers.

Notable followers include Gigi Hadid, Naomi Campbell, Kim Jones, and Karlie Kloss.

Though the integrity of Diet Prada comes in to question more often now with their continued success and close ties with brands like Gucci and Prada, the account never strays away from political issues that many brands and influencers try to steer clear of.

The account’s increased fame and following has been met with amplified fear and skepticism; this singular Instagram account has the ability to ignite a PR nightmare in the midst of minutes. In turn, the duo has instigated infamous brawls with Dolce and Gabbana’s Stefano Gabbana, Simone Porte Jacquemus of Jacquemus, and Philipp Plein over a variety of issues.

Just last year Diet Prada made headlines after inciting controversy that later resulted in the cancellation of Dolce and Gabbana’s enormous spectacle dubbed, “The Great Show” to take place in Shanghai, China.

After the brand debuted an ad, which depicted a Chinese model attempting to eat Italian food with chopsticks, Diet Prada leaked Instagram DM’s which revealed Stefano Gabbana’s reaction to the backlash following the release of the insensitive ad.

Gabbana claimed that somebody had hacked his account.

Under normal circumstances, that could seem plausible, however, based on Gabbana’s previous controversial track record, which includes fat shaming and denouncing children conceived through IVF as “synthetic,” this “hack” seems rather unlikely.

Despite their success, Diet Prada still seems to deliver authenticity and honesty. Diet Prada has remained critical of the people and brands that work with alleged sexual offenders, whereas much of the fashion industry has seemed to look past these robust allegations. Additionally, they have called out brands for repeated cultural appropriation and the lack of representation, which enables insensitive products to be brought into production.

Though Diet Prada has opened a productive dialogue in many instances, combatting racism, discrimination, and cultural insensitivity in addition to helping decode the oftentimes cryptic fashion industry, everything reported on by the industry watchdog should not be digested as the end all be all.

D

iet Prada has been criticized for its biases, offering much harsher criticism on designers like J.W. Anderson and Stefano Gabbana than Miuccia Prada and Alessandro Michele, to which the duo admits. Additionally, the duo has been accused of making accusations without hard proof of misconduct. People also have questioned the legitimacy of Diet Prada’s copycat call outs because the resemblance of one item to another is often times based on opinion, and to declare something as an intentional copy is farfetched in many cases with so much already having been done.

Ultimately, everything on social media should not be taken simply as it is. Regardless of the content, every post on Instagram serves an ulterior purpose and motive with Diet Prada being no different. Undoubtedly, the account has disrupted the fashion industry unlike any other fashion news outlet or publication in its time, however, Diet Prada has become a business, and though transparency will always remain central to the Diet Prada brand, the watchdog doesn't have a watchdog, and business is business.

Olivia Tirmonia Photos by Atheina Hostelet

Annie Steinberg Photos by Conor Gable

The Genius of Kim Jones Kim Jones is a standout designer, artist, and icon, who has redefined menswear. His creativity and forward thinking propelled him to the forefront of the fashion industry, and his influence is recognizable in almost any runway show.

O

by Aaron Mancus

riginally from England, Jones studied at the prestigious fashion school, Central Saint Martins in London, England and got his undergraduate degree in fashion design. In 2002 he graduated and his work was bought by the legendary John Galliano, creative director of Maison Margiela.

Afterward, Jones interned and worked for British menswear label, Dunhill, allowing him to gain a strong foothold in his own style. From the beginning, his work was distinctive, edgy, and wildly creative, leading him to his role as Style Director of Louis Vuitton Menswear in 2012. His debut collection for the fashion powerhouse turned heads, with models walking down the runway for the first time in streetwear and sneakers. Jones’ first collection for Louis Vuitton was one of the first shows that implemented “athleisure” into high end fashion. Prior to his debut, nobody understood the concept of luxury streetwear. Historical Parisian fashion houses discredited the idea that athletic wear could be chic, stylish, and push the boundaries of fashion, while simultaneously providing comfort. His collection featured meticulously crafted leather bomber jackets, oversized peacoats, slim-leg trousers, chunky sneakers, and a wide range of handbags and cross-body bags. He is also responsible for one of the most iconic and successful Louis Vuitton collaborations with streetwear giant Supreme. Jones single-handedly crafted a show that changed the way streetwear and high end designers interact.

page 14

Aaron Mancus Photo by Conor Gable

While his time at Vuitton was celebrated and acknowledged as an integral part of their brand, Jones moved to a more creative role for Dior as artistic director of menswear in 2018. Dior is owned

by LVMH, which is also the parent company of Louis Vuitton.

When Jones made the move from Vuitton to Dior, he was criticized for making a sideways move rather than climbing upwards. He silenced critics with his wildly successful first show, and continues to stun the public with his modern interpretations of classical designs. His latest AW19/20 show for Dior represented his expert level knowledge of fabrics and textiles, as well as his scope of knowledge in lighting and set design. Jone’s designs were inspired by the historic archives of the House of Dior. He dove deep into the history and iconography of Dior in order to maintain a steady and prestigious image of the brand, while simultaneously bringing new life to the brand. He flexed his knowledge of structure and patterns, blending haute couture with cutting-edge streetwear designs, and his ability to create timeless pieces that every man would want in his closet. page 15

Jones made it a point to reinvent the classic Dior Saddle Bag in his collection; creating multiple versions, pushing gender norms. Most of Jones’ looks were sleek and stylish, representing his idea of the modern man. His shows cater to almost anyone, the modern businessman can grab the expertly crafted coats and trousers, while young and trendy influencers can buy the detailed sneakers and cross-body bags.

Jones never fails to create a captivating and cohesive aesthetic with each show. While his designs always remain the focal point, each detail of the show is calculated and intentional to deliver an unforgettable runway experience. Although Jones is just beginning his journey with Dior, the fashion industry remains captivated and eager to see each of his shows.

Iris Van Herpen:

A Fashion Disruptor

by Aaron Mancus

Alexa Kretchmer Photo by Nicole Pollack

Haute couture reigns as the most artistic and innovative form of fashion. With ample room to create, couture designers often take risks and formulate fashion trends well ahead of their fast-fashion counterparts. One stand-out Dutch designer, Iris Van Herpen, has been disrupting the fashion industry with her experimental designs. Herpen studied fashion design at ArtEZ University of the Arts in Arnhem.

After graduation, she interned at Alexander McQueen, then Cloudy Jongstra, and ultimately launched her independent label in 2007. Her inspiration for each collection is rooted in movement and how individual fabrics react to the body. This deep, conceptual understanding of the body is evident in each of her designs.

Herpen is mainly known for her implementation of cutting-edge technology in her shows. Her latest collection “Shift Souls” featured laser-cut acrylic mesh, 3D printed masks, and a laser light show by artist Nick Verstand.

The intricate designs featured a bold and warm color palette and created optical illusions that distorted the female body into something unfamiliar. She played with the idea of human-animal hybrids, and creating a piece of art, rather than a commodified article of clothing.

One look was made in collaboration with former NASA engineer Kim Keever, and featured “vaporous colorful clouds” printed on layers of translucent fabric to create blurred patterns.

Another look from the show was made of gradient-dyed silk fabrics layered with laser-cut plastic resin to create a dress that, as Herpen describes,

“hovers in symbiosis with the body like mythological creatures”.

Alexa Kretchmer Photo by Nicole Pollack

A common complaint from fashion critics regarding runway shows is that designers continue to create and sell the same content for the sake of profit. Alternatively, Herpen’s collections consistently come from new inspiration, each show vastly different from the last.

Herpen prefers interdisciplinary research and often collaborates with other artists, architects, and scientists to implement modern technology into her designs. Her collections always push the boundaries of fashion and redefine what a dress can be. Her main focus is to break away from the commercialized version of fashion

Alexa Kretchmer Photo by Nicole Pollack

that the contemporary consumer feeds into and breathe life into a new version; one that emphasizes the strange and avant-garde rather than assimilating into mainstream culture.

Herpen stands out as a fashion disruptor because her designs deviate from normality, and accentuate the complexities of intertwining art and fashion.

page 18

Androgyny on the Runway:

Margiela

Defies Norms in 2019 Collection

By Hana Chabinsky

M

aison Margiela’s 2019 Ready-to-Wear collection featured garments stripped down to their core. Staying true to the edgy aesthetic of the Maison, there was no shortage of manipulated, deconstructed, and exaggerated pieces. The models, like the clothing, looked very raw, sporting little makeup and sleek hair. Many of the female models had shaved heads, while the male models proudly wore long skirts and shift dresses with mary jane flats. Editor at I-D magazine, Steve Salter states that designer John Galliano, “pushed-possibilities, blurred-boundaries and swept the dust from this atelier-powered artform”.

Galliano’s stripped down collection defies gender norms and competes with the binary. Women sporting oversized, boxy garments and men modeling pant suits with a cinched waist creates tension with today’s social and gender norms. Galliano claims this collection was partially inspired by the new Gen X and Y consumers, who will make up 45% of luxury buyers by 2025. This generation, who is more accepting of gender and sexual fluidity than the baby boomer generation, proves welcoming to Galliano’s androgynous collection.

You can be sure to see androgynous and gender defying fashion at almost any industry event. Billy Porter wearing a Christian Siriano Tuxedo dress to the Oscars, Ezra Miller rocking a bold lip at the 2019 Saint Laurent Fashion Show, or Cody Fern and Judy Greer at the Golden Globes, are all clear examples of fashion disruptors. As celebrities and their designers pave the way for a new era of non-binary fashion, they set a precedent for nonconformity and explorative expression.

Zoe Foote Photo by Athina Hostelet

page 20

The Evolution of the Runway Show

By Hana Chabinsky

At one point, fashion shows were quiet, exclusive, and reserved for couture. In the early 20th century, runway shows were put on to satisfy the large number of foreign buyers who flocked to Europe to see the latest trends and styles, unintentionally creating today’s fashion week. So when did it all change? When did it go from being about the clothing to being about the total production and experience of the show?

In the 1960s, the rise of ready-to-wear gave designers a much bigger playground to work with. They were no longer confined to the pre-established and constrained rules of haute couture. The decade marked the rebirth of the runway show. Lively music, exoctic locations, and shows open to the public became the new norm. Designers created an atmosphere that was no longer just about the clothes; it was about the total experience of the show and what the audience felt when they left. The fashion show has evolved into something that couldn’t have been imagined just decades ago.

Fashion disuprtors are those who take the industry where it’s never gone before.

Alexander Mcqueen’s 2006 runway show featured a hologram of Kate Moss, bluring the lines of fashion and technology.

page 21

Karl Lagerfeld booked the Great Wall of China for Fendi’s 2008 spring/summer collection.Kanye West rented out Madison Square Garden for his third Yeezy collection, filling the front row with some of the most influential people in both fashion and Hollywood.

Yet somehow, the more extravagant these shows become, the more accessible they are to us. As celebrities and social media influencers sit front row of these extraordinary productions, they capture it with one click of a button, and broadcast it to their entire following. Does the runway show fall victim of becoming just a flashy, Instagrammable marketing vehicle, thus losing any exclusivity it was once known for? Do influencers Instagram them because they are extraordinary, or are they extraordinary because designers want them to be Instagrammed?

Either way, the runway show is no longer the elitist and modest display it once was.

Today, shows are seen as an experience, an exhibit that highlights the clothes and much much more.

Suraya Salfiti, Juliana Solorzano & Alexandra Selman Photo by Cali Arguello

Social Media’s Impact on the Pace of Fashion

By Kelsey Mcevoy

Andrea Kang, Olivia Tirmonia & Natalie Yaplee Photo by Mina Nuqul Edited by Cali Arguello

It wasn’t too long ago that people relied on fashion magazines and runway shows for the season’s newest trends. Trends took months, sometimes years to reach other parts of the country and the rest of the world.

Today, trends from all over have the ability to become the a global sensation with just one instagram post.

Fashion inspiration comes from many places, however, it is all funneled through social media. page 23

Social media and the role that it now plays in our lives has forever changed the world of fashion.

Due to the increasing use of social media platforms, our style is influenced by all sorts of people and places.

People look up to celebrities for style inspiration. While it used to be through the style section of the New York Times or Vogue, it is now through social media. Whether it be on Instagram or Snapchat, we are constantly able to see what celebrities are wearing.

If you want the same boots that Harry Styles was wearing at his latest performance or a top that Gigi Hadid rocked on her way to lunch, it isn’t too hard to find where those pieces are from, thanks to social media.

Social media makes it easy and fast to buy clothing that you see on your feed. Instagram allows you to directly tag the designers, so your followers can shop directly from your posts.

Youtube is another platform where you can find what other people are currently wearing. Beauty gurus show us their latest beauty and fashion purchases in order for us to see not only what’s trendy but what’s your style and what’s not. In addition, most times they will also post links in the description box so you can easily purchase the items you like.

There are many ways in which social media has impacted the pace of fashion, and there are no signs of it slowing down

Alex Lange & Alex Frieder Photo by Mina Nuqul Edited by Cali Arguello

Diversity

& the New Path

in British Vogue When British Vogue confirmed its new Editor-in-Chief Edward Enninful in April 10, 2017, no one expected he would take British Vogue in a completely new direction towards diversity and inclusion. As the first black and gay Editor in Chief, Enninful prioritizes diversity within the fashion industry. Working to ensure that diversity is simply not just a trend, but a reflection of the societies that we live in today. His inaugural December issue featured Adwoa Aboah on

Adwoa Aboah on the cover, a British fashion model and biracial young activist. Enninful styled Aboah with a silk head wrap from Marc Jacobs's Spring 2018 collection, coupled with strong peacock blue eyeshadow done by world renowned, black and british make up artist, Pat McGrath. Eningul wanted to pay homage to the multicultural British society, by featuring a mixed-race British model and feminist activist, as the cover star.

Enninful was born in Ghana and moved to London with his parents and six siblings . Scouted by a modeling agency at 16, Enninful entered the industry at a young age. Two years later, Enninful became fashion director of British youth culture magazine, i-D; making him the youngest person to be named an editor at a major international fashion title. Since his inaugural British Vogue issue, Enninful has become known for creating provocative and often groundbreaking editorials. Throughout his career Enninful has been credited for tackling industry taboos on racism and plastic surgery. One Enniful’s most innovative works was at W Magazine, he shot a cover featuring Kate Moss dressed like a nun, but instead of the typical habit, it was made of latex. Vogue Italia’s July 2008 “All Black”, featuring only black models, became one of Enninful’s most recognizable works. The response from the issue was unprecedented, sparking discussion about diversity in the fashion industry. Enninful made a powerful statement in support of black models and their value as marketers.

Enninful is an industry disruptor. He normalizes and celebrates what makes people different. He is a trailblazer, bringing relevance to fashion editorials and a new perspective to something so familiar. As a black, gay, immigrant, Enninfuls’ success is a pivotal step in incorporating diversity into the fashion industry.

gwfba