George Issue II

george spring 2020

Q&A with GW’s Future Fashion Designers:

Upcycling

The Unspoken

GW Dress Code

2019 GWFBA

Fashion Show Recap issue no. 2

A Student’s Guide to a SUSTAINABLE Wardrobe

The GW

Resale Market D.C. Spotlight:

CULTURE HOUSE

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contents

87

designed by andrea kang & melanie weintraub george issue II spring 2020

157 Olivia Tirmonia Cover Photo by Zahra Meertins-George

DC x FBA

GW: A Fashion Bubble in an Unfashionable City, 11 D.C. Spotlight: Culture House, 19 D.C. Sneaker Culture, 31 GW Textile Museum, 39 A Ma Maniere, 47 The Unspoken GW Dress Code, 53 The Modernization of the Retail-Restaurant Concept Experience, 63 Night Society: Interview with Mark Verwaay, 81 GW Night Life, 85

SUSTAINABILITY Introduction, 89 Luxuriating in D.C.’s Hidden Gem of Fashion: Relish, 91 The GW Resale Market, 105 The Evolution of the Retail Shopping Experience: A Look at Reformation, 109 A Student’s Guide to a Sustainable Wardrobe, 113 The Revolution of the Canvas Tote, 115 Faux Pas?, 119 Sustainability: The New Wave or The New Marketing Ploy?, 121 Fast Fashion, 125 Not All Fashion Fairytale Have a Happy Ending: A Look Into Longevity of Designers, 129 The Capsule Wardrobe: How You Can Have More With Less, 133 Q&A with GW’s Future Fashion Designers: Up Cycling, 135 Burberry: The Brand’s Dilemma with Sustainability, 141 Emerging Sustainable Designers, 145 Confronting the Environmental and Labor Crises: How Denim Brands are Approaching Sustainability, 147 Progetto Quid: A Sustainable and Socially Responsible Approach to Fashion, 155

FASHION SHOW 2019 GWFBA Fashion Show Recap, 159 My Experience in the 2019 FBA Fashion Show, 161 The Show Must Go On, 163 GWFBA Fashion Show: Stylist Experience, 165 Interview with 2019 GWFBA Fashion Show Director: Dex Frederick, 167

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george spring 2020 Editor-in-Chief Alexandra Lange Magazine Graphic Designers Andrea Kang Melanie Weintraub President Carolina Garcia Vice-President Suraya Salfiti VP of Marketing Alex Selman VP of Finance Alex Frieder VP of Visual Content Zahra Meertins-George VP of Events Natalia Larach Secretary Juliana Solorzano Creative Elina Batt Bianca Cooper Connor Gable Andrea Kang Nicole Pollack Gabrielle Resnick Content Ireti Akinde Nathalie Campbell Hana Chabinsky Katie Coolidge Grace Demeritt Lauren Durniak Luca Fischer Myles Laurie Julia Lehrer Aaron Mancus Lauren Ofman Giovanna Romariz Lino Julia Shabshis Cooper Spezzano Events Grace Demeritt Isabela Freitas Ana Gomez Ilona de Heusch-Desquiron Athina Hostelet Julia Lehrer Gustavo Martinez Lexi Pellegrini Giovanna Romariz Lino Olivia Tirmonia Aaron Wang Photographers Ali Akgun Zahra Meertins-George Sydney Elle Gray Gabrielle Resnick Carmen Turmer

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Alexandra Lange Photos by Zahra Meertins-George

letter from

the editor

HELLO EVERYONE! AND WELCOME TO THE SECOND ISSUE OF GEORGE. Like many of you, I am currently at home trying to process what is going on, the least of which is the fact that the word “pandemic” has become an every day lexicon and that wearing masks outside the home is not exclusive to protecting your face from sand at Coachella, and that we should all be taking fashion cues from Deadmau5 or Daft Punk. There is nothing normal about this, except for the fact that it seems this is the new normal.

Initially, I felt weird writing this letter because this feels so immaterial, but I have come to realize this issue of George is more important than I thought. Creating this magazine has given me a sense of purpose, entertainment, and something to think about other than whether or not Carol Baskin killed her husband.

Now that we have completed this issue, and the semester is coming to a close, I feel a sense of accomplishment and sadness. Last year, when we created our first issue of George, I don’t think I realized the impact that it had. GWFBA provides a feeling of inclusivity for many of our members, and George has allowed us to extend that to the greater GW community.

I am so proud of that.

Creating this issue has been bittersweet for me, as it is my last issue as Editor In Chief. Next year, I will be taking over as President of GWFBA and I am looking forward to the new and exciting challenges that I will face. I wanted to thank Caro Garcia and Suraya Salfiti for being such incredible founders and leaders. I look up to both of you, and I hope to continue all the amazing work you have started. I also wanted to thank all of the other members of GWFBA. This magazine is a culmination of all your beautiful work. Thank you for being so dedicated.

This issue is organized a bit differently than the last one. The magazine is split up into three sections. The first is about DC and GWFBA, and you will find pieces that discuss GW’s campus as a microcosm of fashion, in a not so fashionable city. The second section focuses on sustainability and fashion--a topic so important and so broad it could have its own issue. Lastly, we end the magazine with a recap of our Spring 2019 fashion show. Here you will find anecdotes from members who worked on the show, as well a spread of all of the looks.

Writing and editing these pieces have influenced me during my quarantine. Our interview with Nightsociety’s Mark Veerway inspired me to download DJ software onto my computer, and I’ve been having a party in my childhood bedroom every night since. The Capsule Wardrobe article reminded me that even though I left all of my clothing in DC, I really only need a few pieces.

Many of you may be occupying your time at home by watching the Cuomo Brothers argue on TV, mastering a new TikTok dance, baking banana bread, or tye dying some white sweatpants you ordered off Amazon, but if you get bored, we hope that this issue of George can act as an escape and bring some joy into your life.

Stay safe and healthy.

Alexandra Gigi Lange Editor in Chief PS- If you feel so inclined, tag a pic of you and George with #GEORGEatHome

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To Our FBA Family, Finding the words to describe how we feel right now is very strange. We are saddened to have to go, and even more sad that our year was cut short. Yet, we are fulfilled knowing that FBA will continue long after our leadership. Although our seemingly incomplete ending to the semester and the feeling that there was so much left to be done, we believe there is now so much more left for you to do…

From the bottom of our hearts we would like to thank every one of you for being part of GWFBA. It’s creation, and our journey with this organization will stay with us forever. It is fair to say, we consider FBA to be the highlight of both our professional and academic journeys so far. It gives us so much pride knowing that we helped bring people together from different GW schools and majors, in a new space, to develop a unified craft while connecting over a love for fashion.

We succeeded in creating a space that bred real creativity on a campus that didn’t have enough of it, created a community of people who may not have met if not for a shared interest in art and fashion, and spent time fostering long-standing relationships with new-friends, mentors, and industry professionals. We have been able to accomplish so much, with the help of you, our members, faculty advisors, mentors, and friends.

In the two years GWFBA has been around, we hosted the first FBA Annual Spring Fashion Show, never before seen on GW campus. Our team printed the first fashion and lifestyle magazine on campus, George, in the Spring of 2019.

This is our second edition of George, and despite the unforeseen events of this year, we were still able to come together and create something both memorable and tangible to end the year with. Among these big accomplishments, we exchanged ideas, laughs and memories at events like our Denim Drive, Tie Dye Event, and group SoulCycle classes.

From the moment FBA was just an idea to being an organization beyond what we imagined, we have been indebted to our members. We will never forget the long nights preparing for our first show, and the initiative so many members took to make it happen. To our members who reminded us all about what it means to be part of this orga-

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nization and the creativity it takes to do what we do, we thank you. To our amazing writers, and Editor-in-Chief who have created a unified voice for FBA, and made sure all our individuals voices were heard simultaneously, we thank you. To our incredible photographers and models, who worked together to create the beautiful photoshoots and photographs you see in this magazine today, we thank you. To our events and marketing team members, who worked tirelessly to always make our events happen, no matter how last minute they seemed. From the First Annual Spring 2019 Fashion Show, to catering pizza and drinks at our first meeting, they were our heros.

To our digital content officers, and any member that took part in the creation of either editions of our gorgeous magazine George, we are forever grateful for all you’ve done and the initiative you all took in crucial moments.

Neither one of us could have imagined meeting such extraordinary people along the way. It is because of all of you that this organization will live long after us. We wish you the absolute best moving forward, and know we are leaving the organization in extremely capable hands. You are all the reason that FBA’s values, goals and legacy will live on well passed our leadership. Thank you! Your exceptional talents and dedication are the reasons why we can leave GW with full hearts knowing FBA is beyond two young girls with a mere idea, but a place where people come together to create something great. No matter how hard it got, it was always worth it.

We are both looking forward to embarking on the next chapter of our lives, but will never forget the George Washington Fashion & Business Association. You’ve made the past two years incredibly meaningful and truly unforgettable. As excited as we are to enter this new phase, we will always remember the love, innovation, creativity, and character behind FBA. Thank you FBA,

Caro Garcia & Suraya Salfiti President & Vice President, Co-Founders of the George Washington Fashion & Business Association

to our fba family

Kenza Ikli Photo by Zahra Meertins-George

D C T he D ist

t ic

r

of

Columbia

Olivia Tirmonia Photo by Zahra Meertins-George

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GW A Fashion Bubble in an Unfashionable City

By Nathalie Campbell

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Alexandra Lange Photo by Zahra Meertins-George

G N

ew York, Paris, London, Milan.

These major cities not only house some of the greatest designers of all time, but fashion has become an integral part of the culture and lifestyle. That’s not to say that there are no other cities with killer fashion scenes--there will be fashionable people everywhere you go.

But generally, when you call out the names of these cultural powerhouses you immediately think fashion, design, and style.

That said, as we scroll through our instagram feeds and browse the Fashion Week websites, Washington D.C. Fashion Week is typically not at the top of our list. With D.C. being known for its political climate and professionalism, you’re probably not going to find a ‘Carrie Bradshaw-type’ wandering Capitol Hill. D.C. is often overshadowed with grey business suits, pencil skirts, and brown briefcases-a very uniform city. Yet, all of this changes when you enter the depths of GW’s Foggy Bottom campus: a small stretch of the District where dull pantsuits disappear and chic neon puffer jackets emerge. The GW student body has become a microcosm of fashion in a not-so fashionable city.

What prompts students to dress the way that they do? High ambitions? Creative nature?

Status? There are so many arguable factors that contribute to the “GW Fashion Bubble.”

As you enter campus, you see unique styles from all angles: from Off-White backpacks to Fendi baguettes, long fur coats to leather joggers, countless students are not just walking

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to class, but consciously (or maybe sometimes subconsciously) making a fashion statement. It’s so remarkable to see modern styles highlighted on a campus surrounded by a culture that doesn’t necessarily emphasize fashion and striking artistic creativity.

With an eclectic collection of students from across the globe, GW houses a myriad of different styles, avant-garde fashion senses, and creative minds. If you’re ever feeling grey, or a lack of creativity while wandering the District, enter the hallowed halls of GW’s campus and streets of Foggy Bottom and you’re bound to find inspiration and verve.

We can even ask how an organization like GWFBA has sparked so much interest and excitement within the GW student body. It can be attributed to the fact that a city like Washington D.C. does not harbor many fashion business organizations catered to people in the area that have a true passion for the fashion industry. Enter the stylish bubble of campus, though, and there will be no shortage of potential members, creators, and influencers that appreciate such a strong source of creative, fashion-forward content. Hence the niche that GWFBA has filled not only on campus, but possibly beyond the bounds as well.

So the next time you think you’re in an ‘unfashionable city’ look around and you may be surprised to find a microcosm of style. Who knows, maybe GW Fashion Week is next on the radar behind New York and Milan!

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Connor Gable, Myles Laurie, & Luca Fischer Photo by Gabrielle Resnick

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Andrea Kang & Alexandra Lange Photo by Zahra Meertins-George

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Connor Gable & Luca Fischer Photo by Gabrielle Resnick

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Roy Alkheshen Photo by Zahra Meertins-George

D.C. Sp

CULTURE

By Aaron

potlight:

E HOUSE

n Mancus

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A

t the heart of D.C.’s thriving art scene is the desire to push the boundaries of contemporary art and add meaning to what may initially seem strange and unusual. Culture House in Southwest Washington, D.C. is an art piece in and of itself; a historic church turned into a space in which arts and culture is taught through exhibits, events, live performances, and artist workshops. The exterior, painted by the renowned artist HENSE, acts as a beacon of color and eccentricity amongst a mundane residential neighborhood. Its mission is founded on the ideal that art can be a catalyst for change - and provide inspiration for those who choose to attend events and workshops.

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Aaron Mancus, Roy Alkheshen, Aaron Wang Photo by Zahra Meertins-George

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o-founders of culture house, Stephen Tanner and Ian Callender, have over 20 years of artistic experience that they use to oversee events, artistic residencies, and scheduling. The Resident Art Advisor, Andrew Jacobson, is an expert in music production and visual art show curation, leading him to global art fairs like Art Basel and TEFAF. The leaders of Culture House are committed to featuring artists that engage in abstract thinking; artists that want to comprehend and interpret our lives’ in the 21st century. Previously displayed, artist Kasey O’Boyle investigated risk

Aaron Wang Photo by Zahra Meertins-George

“The leaders of Culture House are committed to featuring artists that engage in abstract thinking; artists that want to comprehend and interpret our lives’ in the 21st century.” taking factors and studied the underlying processes of risk to integrate into her work. Artist Shawn Mitchell Perkins included electrical outlets in each of his works, to represent how he uses art to connect with others. The exhibits at Culture House are meant to engage, disrupt, or even confuse, but ultimately provide viewers with an opportunity to witness the radical, innovative and avant-garde art scene that stirs in every city. As a fully functioning non-profit organization, Culture House relies on donations and volunteers to maintain their exciting and enriching arts program.

Aaron Mancus Photo by Zahra Meertins-George

Aaron Mancus, Roy Alkheshen, Aaron Wang Photo by Zahra Meertins-George

Aaron Mancus Photo by Zahra Meertins-George

Currently on display at Culture House is “Death & Donuts” by sculptors Heidi Zenisek and Michael Thron.

Their multimedia exhibition “Death & Donuts” is a critique on humanity’s role in deforestation, pollution, and environmental degradation.

Their work at Culture House features eye-catching reflective surfaces, shimmering light displays, and manipulations of national art symbols. The theme of

this exhibit presents an introspective approach to the dark reality that is climate change. The artists’ intention was to create, “a guide for living in the coming new age marked by humanity’s modification of earth’s environmental systems”. Their work acknowledges the cyclical nature of human innovation and how post-industrial America is covered by a “thin veneer” during the struggle against climate change.

culture house Their intent is to shed light on the continuous disregard for sustainability and our environment, and to provide a space for the viewer to comprehend the gravity of climate change. The installation is formatted with site-specific pieces that offer a satirical take on our warming climate, and question roles of stability within industrial farming and contemporary agriculture.

The lasting intention of Cul-

ture House is for the viewer to leave with a unique experience of the space, and take meaning from the art that adorns the museum. Their demonstrated history of cutting edge art exhibitions continue to stun the public and receive international recognition. This continued success makes Culture House a must-see for those seeking commentary on our complex world, and want to observe the intersection of art, science and technology.

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Roy Alkheshen Photo by Zahra Meertins-George

Aaron Mancus Photo by Zahra Meertins-George

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D.C.

SNEAK

ER

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Gra c e De meritt

Armaan Gupta Photo by Gabrielle Resnick

Nicole Miller Photo by Cali Arguello

Most days as we rush to get ready, we grab our trusty sneakers before heading out the door. Walking through GW’s campus you will see hundreds of Air Force 1s, New Balance’s, Golden Goose, Gucci, and Veja sneakers. According to “100 Years of Fashion” by Glamour, one of the earliest influences on sneaker culture was the tennis shoe of the 1950s. This style still stands the test of time. In recent years, sneakers have become a standard fashion statement. Consumers will spend hundreds of dollars on sneakers to achieve the streetwear vibe we all so desperately seek.

While shoppers are wearing sneakers on street corners everywhere, D.C.’s sneak-

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er culture is heavily concentrated at D.C. Sneaker Con: one of the world’s largest sneaker conventions. The convention offers rare kicks” legitimized with an authenticity check at a sneaker show right in our backyard. As sneaker purchases rise, people are flocking to the market; buying sneakers in bulk and selling them back for more.

Young people from around the world come to SneakerCon to sell sneakers and make a lofty profit. The rarest sneakers are sold and any sneaker fan knows this convention is the place to be. So, why did sneaker selling become so popular? These conventions began as a place for sneaker-buying lovers to gather, but since then have become

Andrea Kang Photo by Cali Arguello

a place for reselling. For others, this is a place to find the sneakers you have been dreaming about owning for years.

There has been an increase in celebrity coverage of sneakers. Kanye paired with Adidas to make the Yeezy 700’s, Michael Jordan created the Air Jordan’s, and Rhianna teamed up with Puma to make the Fenty sneaker. When these role models create a shoe that they want to wear, all of their fans follow. Celebrities have capitalized on the casual footwear craze, a trend that can be seen on any street corner, and certainly on the campus of GW.

Gabrielle Resnick Photo by Cali Arguello

Somewhere D.C. Photo by Ali Akgun

Roy Alkheshen Photo by Cali Arguello

Somewhere D.C. Photo by Ali Akgun

Delight in Discovery: The Global Collections of Lloyd Cotsen Photos by Dave Scavone Courtesy of the George Washington Uni-

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GW Textile Museum

By Lauren Durniak

S

earching for an educational and cultural experience on the GW campus? Look no further than The George Washington University Textile Museum. Welcoming its first visitors in 2015, the Textile Museum showcases global textiles and art featuring both rotating and permanent exhibits. Free to GW students, faculty, and museum members, the museum offers educational and cultural opportunities to the GW community. The Textile Museum is a space where students can escape the stress of their hectic schedules and lose themselves in the exclusive and unique pieces on display. Hosting speakers, GW class trips, and community events, the museum serves a bigger purpose than most students realize.

In addition to serving as a cultural hub at GW, the museum offers unique internship experiences for students to work with their exhibitions. From volunteer openings to cura-

torial internships, the gallery provides career-building opportunities to GW students right in the heart of campus. The curatorial

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internships give students the rare chance to work and curate exhibits alongside established curators and museum experts. Most recently, GW students had the chance to assist in the composition of the new George Washington and His World Exhibit, which featured numerous historical artifacts connected to the president and the world he lived in. These unique opportunities allow students to gain hands-on experience in the art field without having to trek to other museums across the District.

One of their most recent textile exhibits, Delight in Discovery: The Global Collections of Lloyd Cotsen, features art collector Lloyd Cotsen’s array of garments, textiles, and artworks. The collection showcases textile pieces from indigenous cultures around the globe and was gifted to the museum by Margit Sperling Cotsen and the Lloyd Cotsen estate. The exhibit will be open to the public through July 5th, 2020.

Hosting DC Mondays, the museum offers weekly lunches every Monday where students, faculty, and the surrounding community can dine together while learning about topics ranging from politics, D.C. history, and even archaeology. The museum also offers weekly gallery talks, monthly documentary screenings, and opportunities to speak with and learn from museum experts and curators. These events make cultural and educational accessible experiences to the Foggy Bottom community, bringing residents, students, and faculty together.

Since its opening, the GW Textile Museum has become a hub for culture, education, and community engagement in the heart of GW’s campus. When you are thinking about what museum in DC to hit up next, try the textile museum! Don’t let this museum slide under your radar; plan a visit, get involved and explore all the GW Textile Museum has to offer- you won’t regret it.

Delight in Discovery: The Global Collections of Lloyd Cotsen Photos by Bruce M. White Courtesy of the George Washington University

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Connor Gable & Gabrielle Resnick Photo by Zahra Meertins-George

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DISTRICT

Alex Frieder Photo by Gabrielle Resnick

Gf a wb

I DON’T

D O FA S H I O N

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Alexandra Lange Photo by Zahra Meertins-George

Aria Coleman Photo by Zahra Meertins-George

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a ma maniere

By Alex Frieder

As a city with a fairly scarce menswear scene, A Ma Maniére has established itself as a trailblazer within the DC retail landscape. The store is inspired by Parisian culture and fashion with its name being the french translation of “In My Way”. A Ma Maniére aims to inspire its surrounding communities, bringing some of the most coveted brands in menswear to the nation’s capital.

DC marked the second outpost for James Whitner’s luxury menswear concept after previously establishing itself in Atlanta and most recently Houston. With the opening of its DC location in the summer of 2018, Whitner unveiled a new concept entitled, “A Ma Maniére Living,” which offers a lavish contemporary living space through its two fully residential suites located directly above the store. The spacious suites feature exquisite views of the capitol and are adorned curated art, toys, and furniture. The concept looks to capitalize on experiential shopping and truly make A Ma Maniére a destination.

Aria Coleman Photo by Zahra Meertins-George

Located in the budding H Street Corridor, the store boasts three levels of contemporary menswear, streetwear, and accessories. Expect to be immersed in a variety of luxury labels from staples like Rick Owens and Maison Margiela in addition to Japanese favorites like Sacai, Ambush, Visvim, and READYMADE. The boutique also offers an assortment of footwear and homeware, including the famed collectible Bearbricks.

Be sure to check out A Ma ManiÊre the next time you crave an exciting shopping excursion in the nation’s capital.

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maniere maniere maniere

Aria Coleman Photos by Zahra Meertins-George

The

unspo ken

GW Dress C

By Julia Shabshis

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Code

Photos by Zahra Meertins-George

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alk onto campus and you’re quickly enveloped in the GW bubble: a fashion microcosm in the middle of plain-jane-style, Washington, DC. Foggy bottom sits west of the White House and down-town Washington, both of which are known for lobbyists and business professionals, and subsequently, mundane suits and monochromatic business attire. In the heart of the capital, univ-

Georgia Riordan

20

Alex Truong

ersity students manage to escape the grey, creating their own fashion universe.

With over 4,000 students from over 130 countries, campus becomes a fashion forum with students sporting every style in the book - edgy, chic, business-professional. Students are tasked with dressing for multiple occasions: finishing a morning class and heading straight to an internship (cue the kids in suits at an 8am lecture) or studying late at night and meeting up with friends for a quick bite.

In terms of specific trends, the winter months bring innovative puffer jackets from floor length to fur-lined, neon colored to vinyl-coated, outerwear becomes a statement. With regard to weather-appropriate footwear, chunky combat boots and animal printed booties

Caroline Rooney

have been in high supply, alongside accessories like logo embellished beanies.

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With designer culture heavily underscoring campus fashion, greek-life apparel has begun to shift in coordination. Sorority and Fraternity PR packages often include designer spinoff hoodies and sweatpants - think Anti Social Social Club, Yeezy, and Balenciaga designs remade with greek organizations replacing the logos.

This trend has become increasingly popular among sororities and fraternities within the past few years.

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hile fashion is not commonly associated with DC, it has somehow become a quintessential part of the only-at-GW-experience.

Only at GW would you see someone wearing a fashionable mask during flu season.

Only at GW does greek apparel become an excuse for a fashion statement.

Nonetheless, it’s hard not to wonder about the level of pressure that students feel to dress a certain way. Are they actually fashion-crazy or just succumbing to mob mentality? Furthermore, do different schools on campus each have a unique style?

We decided to find out by going directly to the source:

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0

p r i n g going directly to the source: the students.

In the School of Engineering and Applied Sciences, students were unanimous in the opinion that GW engineering students do not have a stereotypical “dress code”.

When prompted, most students mentioned that while fashion senses vary, international students distinguish themselves most from the masses of students. Some students mentioned a feeling of pressure to dress up for class while others firmly enforced their dedication to sweatpants and hoodies.

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oving onto the Elliott School of International Affairs, student answers varied in regards to stereotypical fashion. Students mentioned that the “uniform” was a suit, similar responses were recorded at the GW School of Business. Other GWSB students spoke extensively about the prevalence of designer clothing. One student in GWSB said that since day one, the business school trains students to look put

Bianca Cooper

Claire Haskell

together and act as professionals in the field. She thinks that dressing up for class is driven more by the desire to make a good impression on professors rather than social pressure from other students.

With a campus housing over 25,000 students from all over the world, GW boasts one of the most diverse student bodies of any major university. While trends like fashionable sneakers and colorful puffers are in abundance, fashion at GW ranges across every style and is impossible to pin-point with a few generalizations. One thing is for certain though, from head-to-toe designer loungewear to steamed suits prepared for an internship on Capitol Hill, students never fail to challenge the status quo in the capital of grey suits.

Ace Stallings

Caroline Rooney

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on Giselle Garcia

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u Yasmin Maleki

Amy Tan

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Amani Bethea

Henry Parente

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Maketto Photos & Collage by Ali Akgun

The Modernization of the Retail-Restaurant Concept Experience

By Julia Lehrer

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Maketto Photos & Collage by Ali Akgun

Maketto Photos & Collage by Ali Akgun

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The concept of restaurants inside of clothing stores is not new, Barney’s had Freds and Bloomingdales has Forty Carrots, but in recent years the traditionally boring concept has received a face lift. Maketto, a Camodian and Tawainese restaurant located on H Street brings together contemporary culinary techniques with fashion.

Restaurateur Erik Bruner-Yang opened Maketto alongside Will Sharp, the head of the retail portion, in 2015 to “build a space that was unique,” Sharp stated in an interview with Eater DC in 2015. From the outside, the space looks like a gallery with large glass windows allowing those passing by on the street to catch a glimpse inside. Racks are lined with popular brands like A.P.C, Commes des Garcon, and Born & Raised, with the rest of the first floor being a 60 seat dining room delivering cuisine inspired by Cambodian and Taiwanese cultures. In addition to the main dining space on the first floor, the second floor is a daytime cafe offering coffee and pastries. In the same 2015 interview with Eater DC, Bruner-Yang explained that the inspiration behind the dishes served at Maketto come from his family and life in Taiwan. He wanted to create a restaurant based on the Taiwanese night markets he would frequent as a child. Maketto’s motto is, “your home” and by using his childhood experiences to influence his cooking, Bruner-Yang brought his home to DC. Maketto infuses Bruner-Yang’s cultural background with fashion by modernizing traditional dishes and offering modern clothing to compliment.

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Will Sharp parted ways with Maketto and debuted Somewhere in DC’s Navy Yard.

The chic concept store sells brands like Rick Owens, Marni, and Sharp’s own brand, Durkl. Unlike Maketto, Somewhere is more retail focused with a cafe integrated into the space, they brew coffee from Vigilante Coffee Company and serve pastries from Baked and Wired in Georgetown. The store effectively combines both the cafe and retail elements. From the outside, it looks like a small cafe, but upon entering it becomes clear that this space is much more. A clean rack of contemporary menswear pieces line the walls and at the back of the store is a footwear display, showing off their selection for the season.

When talking with a sales associate about the store, he explained that the goal of Somewhere is to introduce DC to new brands and help to elevate the style of the city. While browsing through the clothes, it was apparent that Sharp understands his clientele. The pieces on the racks were not meant to push the norm but rather to elevate staple items like uniquely patterned camp collar shirts from Marni and classic tees from Kapital. Somewhere’s updated vision on classic pieces works to take on the conquest that is bringing luxury streetwear to DC. Both Bruner-Yang and Sharp understand why consumers enter their stores, they want an experience. By integrating food and fashion together, they are able to create a safe, unique and enticing space for consumers and creatives alike. Maketto and Somewhere are must visits for anyone interested in fashion or food in DC.

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Somewhere D.C. Photos & Collage by Ali Akgun

Somewhere D.C. Photos & Collage by Ali Akgun

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Maketto Photo by Ali Akgun

M A K E T T O

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Maketto Photo by Ali Akgun

DAY Zahra Meertins-George Photo by Frederic Ryle

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Ilona de Heusch-Desquiron Photo by Suraya Salfiti

NIGHT page 78

“i don’t do

”

Olivia Tirmonia Photo by Zahra Meertins-George Edited by Andrea Kang

’t do fashio

fashion”

Photo Courtesy of Night Society

Night Society:

Interview with Mark Verwaay

By Julia Shabshis

Mark Verwaay, a George Washington University Law student from Miami, single handedly shifted the nightlife scene in Washington, D.C. After establishing the promotional group Night Society, Verwaay managed to attract students from George Washington, Georgetown, and American University, to nearby weekend hot-spots while fostering an atmosphere of exclusivity. After several years of promotion, Night Society has seen quick growth and become a recognizable name among students in the District.

Tell us a bit about your background and what brought you to DC: So I was born in Port-au-Prince, Haiti and grew up in Miami. I chose D.C. because I was recruited to play on the men’s soccer team at American University. After a year, I dropped the team and went from never going out to always going out. That same year, these two partners who had their own promotional group asked me if I wanted to work with them. This group was running two venues in DC - Shadow Room and Capitale - both of which do not exist anymore. The two running the company were a little older, lived in New York, and eventually I realized I was doing most of the work, so I stopped working under them and decided to cofound NightSociety.

Why did you decide to get into this business?

I felt like D.C. lacked a proper nightlife scene to accompany the big universities in the area, so there was a gap to take advantage of. With greek life, I felt like there was a good infrastructure to form the group and attract a ton of college students from every school. Our first events were at Capitale on K St and they were frequently AU events, but then once I transferred into GW in 2017 we started branching out, and now we have the contractual rights for three great venues every weekend.

What were some issues you encountered when starting out?

It’s hard to bring 400-500 people out consistently, so at the beginning it was difficult to get the full capacity up there. The question became, how do you get people to have fun when the room is half empty?

To differentiate our group and the spots we promote at, I focused a lot on the details (like the music and lights) more than anyone else did, and I think people really responded well to that.

What are your goals for Night Society this year?

Before the lockdown, I started up Tokyo Pearl on Thursday’s, so I would say my main goal for this year is to get that venue picked up by a closer intimate group than the other venues I work at. There isn’t much to be made there, if at all…, so we just use Thursday’s to cut loose and enjoy. The venue itself is so small, about 150 people max, so I’m starting it to bring together a closer group. The venue is unique in so many ways – It has one of the best sound systems in this city, and the same lighting & electrical subcontractor as Eleven in Miami.

Do you have any words of advice to anyone starting a company?

People will always try to take advantage of you early on, especially in this industry you have to be very bold and confident to succeed.

What’s your biggest weekend while promoting/what you look forward to most?

Columbus Day Weekend… By far!

We work with ClubTab, a group that works in Boston, Miami, and Madrid, and we decided on a weekend where we push people to D.C. Our annual Columbus Day Party is one of the highest grossing parties in D.C. I remember the first time we did it, we ran out of ice. Usually no one attends a nightclub during the day, so the venue really wasn’t

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There is definitely a thrill to this. I probably have thrown around 250-300 events now and I’m more excited about my next one than I was about my last one. Maybe in two years I’ll look into venue ownership. A Saint Yves in Miami, and an Abigail in New York lol.

E

Do you have a plan for female promoters?

We have plans on adding a few new positions. We would love to have more female promoters although I feel like a female DJ is even more necessary. We’re always open to finding new creative minds. We’re also looking for a content creator and marketing assistant.

K

How has Abigail, one of the venues you work, changed throughout your experience?

Abigail caught on pretty quickly. The venue is still pretty young, I’d say a little over two years old. The music we play is completely different than what you will typically hear elsewhere in D.C. This city is very small and diverse, so we wanted to create a place that fits every demographic. People really responded well to it. I think it blew up because of the crowd. We found the right combination of people for that place. Saturdays just hit differently.

What differentiates Night Society and what are some of your goals?

I learned a lot about what gets people active and moving. Most of the music we all choose to listen to may be appropriate for Airpods and car speakers but not always for a party. There needs to be a pulse that any person can follow along at any time and be comfortable letting loose to. The key word is atmosphere - you need people dancing around, standing up on the benches not even realizing how much fun they’re having.

In terms of personal goals, I’m currently in law school which consumes most of my time. I am fortunate that work and leisure are combined. Right now, Thursday, Friday, and Saturday night complete my schedule.

I don’t think I can add anything else. I have about two more years until I graduate, and I plan on continuing to grow the project until then. Once I’m done, who knows?

E

The city is clean, safe, and quiet. The universities are prestigious and fun. The people are smart, classy, and polite… and to me, we have one of the best intimate party cultures you’ll find anywhere. The parties don’t compare to cities like Vegas, Miami, Buenos Aires, but nowhere is as consistent. A party is only as fun as its people, and those unforgettable nights are the ones where everyone is completely comfortable and familiar with each other.

Tell us a bit about the photography/videography behind Night Society: It’s the highlight of a typical weekend, involving a lot of prep work. Students put in considerable time and effort doing their makeup and choosing their outfits and we want to document it.

The photographer that we use, Alex Martin (@AMVisuals), reached out to me a long time ago and now he’s there every weekend. He has access to our Instagram and Facebook, and works on content independently. Zack Allen (@zallenphoto) is our incredibly talented videographer. He can make a dark room, vibrant.

E

prepared. We have amped up the quality of the party a lot since then. Now, 4-5 years later, that weekend keeps getting bigger and bigger. I even think it’s responsible for the shift in demographics at some of these universities. The Latin American student enrollment, especially at GW, is growing a lot… maybe people are just realizing that D.C. is a major gem.

Photo Courtesy of Night Society

Photo Courtesy of Night Society

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Photos by GWFBA

Night Attending school in a metropolis like Washington DC was exciting to me.

Coming from a small town in the midwest, I knew I was about to experience something much different from what I was used to. When I arrived on campus, I was surrounded by people from all over the world and immersed into a lifestyle that I had never been exposed to before. At most colleges, gamedays and school spirit unites students and drives nightlife. At GW, this is not nearly the case; nightlife is a bit different here.

George Washington University is a unique place; young adults living in a very serious city, trying to find the balance between adulthood and typical college life. We don’t wait all week for game day, cover ourselves in college apparel, and celebrate at a big frat house or the stereotypical college bar.

GW’s nightlife has variety; students go to restaurants, trendy clubs, cool bars, concerts, or other events around DC. Whether it’s sleek leather pants, a bold neon blazer, or a fresh pair of Jordans, GW students know how to make a statement. Getting dressed up is exciting for students and makes the weekends that much more of a relief from the mundane school week.

Life

By Olivia Tirmonia

Nights out with friends gave me the opportunity to try out trends that I had always loved but never felt comfortable wearing at home. Rather than dressing in a simple outfit of jeans and a plain tee shirt, I am excited to put on a new silk top, chunky boots, and a statement shoulder bag.

My friends and I start getting ready around 8pm or 9pm, as nights often don’t start until late. We throw around clothes and swap wardrobes to maximize our options. Working with different colors, textures, and patterns, we find an outfit to make us feel confident and ready to conquer the night.

Then, I move on to makeup where I find myself trying new trends like neon eyeliner or a bold lip. My look changes all the time, as I am constantly trying new styles and dressing for different night agendas. Either way, my go-to is comfortable jeans, a cool blazer, and booties- it has yet to fail me.

The nightlife scene at GW is pretty different than most schools and definitely one that I was not expecting.

I look forward to the weekend to try new looks, sometimes dress out of my comfort zone, and make new memories with my friends that have made GW so special to me.

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susta

Ana Gomez Photo by Gabrielle Resnick

ainability page 88

welcome to the sustainability section of george

For this section, we felt that it was only right to tackle an extremely relevant topic: sustainability. It feels like the word sustainability has wiesled its way into every aspect of our lives: from sustainable cars, sustainable eating practices, to, of course, sustainable fashion.

But what does sustainability really even mean?

Coming up with a theme for this segment of George was kind of a no brainer, and coming up with article topics was a natural progression. When I initially pitched the theme of sustainability to my writers it was through a rambly text message that went like this: “sustainability is great because I think it can be spread really far.

Like yes of course sustainable clothing production but also sustainability and longevity of designers, sustainability of new and young designers, of consumerism, and the industry as a whole ....”, While it might not be the most grammatically correct text message (especially from the Editor in Chief), I think it really encapsulates the message we wanted to share.

I wanted to not just promote sustainable practices, but to question the validity of sustainability.

Articles explore different tiers of the industry with pieces about fast fashion, emerging sustainable designers, and sustainability in luxury fashion.

And don’t get me wrong: I understand the irony of (hopefully) printing hundreds of copies of this publication about sustainability, but I think we must realize that sustainability isn’t just about saving the trees and recycling our water bottles. Sustainability is about longevity, it is about creating something that will withstand time and change. So, while this magazine itself might not be so physically sustainable, it attempts to capture our thoughts at a particular moment, that will withstand change and time, so in that sense, it is. This section contains content that attempts to explain and understand what sustainability means to the members of the GW Fashion Business Association and the student body as a whole.

We hope our work inspires you to come up with your own definition of sustainability, in fashion, in environmentally sound practices, and, of course, with your own ideas and beliefs as well.

Alexandra Gigi Lange Editor in Chief

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Culture House Photo by Zahra Meertins-George

Luxuriating in D.C.’s Hidden Gem

By Alex Frieder

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m of Fashion:

Zahra Meertins-George Photo by Gabrielle Resnick

Carolina Garcia Photo by Gabrielle Resnick

Olivia Tirmonia Photo by Gabrielle Resnick

r

U

pon entering the unmatched fashion fantasy that is Relish, consumers are met with fervent fascination. Relish maintains a distinctive point of view. It curates unique high fashion from runways around the world and showcases them in a manner that is digestible to the modern D.C. woman. Perched along Cady’s Alley, which also functions as Georgetown’s Design District. Owner and Founder, Nancy Pearlstein seeks to appeal to the woman who likes to stand out. Spanning over 6000 square feet across two floors, Relish bears boundless treasures from the likes of Dries Van Noten, Marni, Sacai, Maison Margiela, Issey Miyake, and Jill Sander, to name a few. So if you find yourself strolling aimlessly through the bustling streets of Georgetown, be sure to check out Relish, one of the only true fashion destinations in our nation’s capital.

h s i l re

Ana Gomez Photo by Gabrielle Resnick

Ana Gomez Photo by Gabrielle Resnick

Interview with Relish’s

Nancy Pearlstein To begin, I would just like you to introduce yourself.

“My name is Nancy Pearlstein. I’m from Boston, Massachusetts, and my family had a men’s clothing store in Boston. After I graduated college, I went to work there in the shipping room of the store because I had nothing to do and my mother told me I had to work, and I fell in love with it--it was very natural to me. I stayed there for over 15 years, and then as family businesses go [chuckles], I decided to leave. I went to work for a big company for a couple years, and I just didn’t like it, so I said I had to work for myself. So, that’s how I came to be Relish.”

What is Relish?

“Relish is a higher-end, European-based women’s specialty clothing store.” Relish carries some very recognizable brands that people know and understand who they are. However, Relish also has many brands which Pearlestein describes as “under the radar--brands that are on the cusp of becoming something special or well known. We try to have a mix of both.”

How did Relish Come About?

“Relish is an extension of my taste. I mean, not everything in here would I wear, but it has a certain level of quality and attitude that is a little bit bohemian, a little bit tailored, a little bit adndrogynous, a little bit funky. It all has a common thread of maintaining a certain look, so that a customer who likes this looks goes crazy in here. But, I mean, you have to like the look, or else. So, it has a very specific point of view, I would say.”

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Olivia Tirmonia Photo by Gabrielle Resnick

Carolina Garcia Photo by Gabrielle Resnick

Carolina Garcia Photo by Gabrielle Resnick

Ana Gomez Photo by Gabrielle Resnick

When did Relish Start?

“We opened up the store about 25 years ago in Chevy Chase, Maryland. We had a smaller store at that point. When the lease was up after nine years, we moved down here because this area of Cady’s Alley was just starting to be developed. And, so when I saw this space, I knew I just had to have it! It’s amazing.”

Zahra Meertins-George Photo by Gabrielle Resnick

What makes Relish unique?

“First of all, in this day and age, a specialty store is unique in itself, period end of conversation, which is good and bad. It seems that in the past couple of years, people are drawn to specialty stores again because they are so special, and you don’t see them that often. And I, for one, like selling to that kind of customer. We have a good time here because it’s more creative.

When you work in a specialty store, you get to do a little bit of everything, as opposed to just selling or just merchandising… You have to know how to do everything. We are always busy. It’s a much more handson kind of atmosphere. It’s a lot more fun, and I think you learn a lot more that way too. If you’re starting out in the business and you work for a specialty store, you get to put your hand into everything. Because you’re in a specialty store as opposed to a department store or big group, you don’t just do one thing. You have to learn how to do a lot of different things. Whether you’re good at it or not, you still got to learn how to do it.”

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Who is the Relish Client?

“We get women who are anywhere in their 40s all the way up to 80. Like I said, it’s a certain kind of perspective-I think we have a little more European sensibility to our clothes. She has to be confident in herself because a lot of these clothes take confidence to where... If you want to blend, this is not really the place for you. If you want to be someone who has a nice sense of style and want to look a certain way, this is a good place for you to shop.”

What are some of your favorite pieces in the store right now?

“Well, we just got in a collection called R13, which is basically denim. It’s an American brand--one of the few American brands we have. I just love this guy as a designer, and I just think he does some unbelievably spectacular things. I like that kind of jean. You know he did some kind of mesh leopard tops and army pants. I like that kind of look.”

What is something you think every woman needs in her closet?

“I think that every woman needs a fantastic coat. I think a coat--doesn’t matter what color--just has to be great.

Whether that is a color that makes it great, a fabric that makes it great, a fit that makes it great, whether its oversized or fitted, I think that a coat can make the whole entire outfit.”

Olivia Tirmonia Photo by Gabrielle Resnick

Olivia Tirmonia Photo by Gabrielle Resnick

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Ana Gomez Photo by Gabrielle Resnick

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Where do you see the future of brick and mortar retail is going? [giggles] “It’s a good question. I do think there is always going to be a necessity to have brick and mortar because its not only about clothes but it’s also about entertainment and the experience of shopping. You know, you can click all day long, but I don’t know how exciting that is at a certain point. As you get older and your time is short, I think you want to make a wardrobe that makes sense.

Olivia Tirmonia Photo by Gabrielle Resnick

Zahra-Meertins-George Photo by Gabrielle Resnick

You’re more likely to go into a shop and buy a wardrobe for a season, as opposed to buying, returning, buying, returning, buying and returning...buying here, buying there because then nothing makes sense and nothing goes together. So, a smarter way to wardrobe yourself is really to shop all at once. And, don’t go in the store every week, but go in maybe once or twice a season and that’s the end of the conversation. You will spend less money and have a better identity for yourself.

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Carolina Garcia Photo by Gabrielle Resnick

The GW

R

J Xu Photo Courtesy of GW Thrift

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a l s e e M

ar k

k et

By Lauren Ofman

I

ronically, living in the middle of a major city like D.C., it’s more difficult for GW students to find thrift stores or secondhand shops. The growing emphasis on sustainability in the clothing industry marked by the rise of sustainable brands like Reformation and resale apps like Poshmark and Depop, has made sustainable clothing more accessible.

While some may choose to spend more on first-hand sustainably produced clothing, there are various ways to engage in sustainable efforts without spending your entire paycheck. Thrifting has seen a resurgence in popularity as it gained traction from being a corollary to the sustainability movement.

Influencers have emerged showcasing their unique thrift store finds on multiple platforms - and viewers love to see it.

J Xu Photo Courtesy of GW Thrift

J Xu Photo Courtesy of GW Thrift

“The point is to give certain clothing items a

second life

rather than having it sit in a landfill”

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T

rends have been driven by the public’s affinity for vintage styles and many stores have changed their aesthetic to appear more vintage and thrifty. Due to the lack of thrift and second hand stores in D.C., GW students have to rely on resale apps or road trips to contribute to this movement.

However, students like J Xu, otherwise known as @GWThrift, decided to bring the thrift store to GW with his Instagram resale business. Over the years, Xu has collected pieces to sell and he is constantly searching for new items and going home to Virginia to find them.

“The point is to give certain clothing items a second life rather than having it sit in a landfill,” Xu said.

Xu’s had a passion for vintage styles since he was little. He has witnessed fashion in different parts of the world through his travels and his time living abroad. Despite his location in the world, Xu was also heavily influenced by 90’s Spike Lee films like He Got Game and Do The Right Thing, which featured Jordan sneakers and baggy clothing with vibrant pops of color.

Xu keeps in touch with his counterparts at other schools in the area, specifically Virginia Tech Thrift, who recently opened his own store on campus and UVA Thrift.

“I think it’s important for everyone to have a second hand community to repurchase items, it doesn’t have to be clothing,” Xu said. “But I think what I do specifically adds more character to the GW community because I can fulfill a demand that D.C. can’t offer where students are looking for fashionable pieces at a low price. I’m glad to see that people are enjoying my perspective on fashion”.

The past few years has brought about a new wave of vintage fashion. Celebrities brought this trend back by sporting vintage items like band tees, tie dye, and

Photos Courtesy of GW Thrift

stone washed pieces which inspired consumers to “incorporate vintage styles into their daily aesthetic,” Xu said.

“Showcasing logos doesn’t represent style in the fashion world,” Xu said. Instead, he’s found that shopping for styles that adhere to the vintage look has been most successful for him and his counterparts.

“At this point, I feel like there’s enough clothing for everyone on this planet for a really long time,” Xu said.

As fashion continues to evolve, so will the preferences of its consumers.

The resale scene has shown us that fashion doesn’t have to be confined to one decade. Styles will continue to resurface, so it’s never too late to change your buying behavior and purchase items that are good for the environment and good for your wallet.

n o

Refo r

ma ti

The Evolution of Retail Shopping Experience:

A Look at Reformation

L

o o

t a k

L

o o

t a k

By Lauren Durniak

A

A

Carolina Garcia Relish D.C. Photo by Gabrielle Resnick

As online shopping is gaining popularity over the retail fashion industry, brick and mortar stores are forced to reimagine and redesign the shopping experience. Retailers are having difficulty maintaining the success of their physical stores as online shopping continues to dominate the retail industry. Consumers are looking for a shopping experience, not just the typical trip to the mall. Catering to the “Instagrammable” moments millennials seek out, brands are rethinking the typical shopping spree.

Relish Photo by Gabrielle Resnick

Reformation, a sustainable womenswear brand, is redefining retail and revamping the idea of a brick and mortar storefront.

The brand is centered around creating sustainable, yet trendy clothing and caters to a variety of different body types. Providing accessibility to yearly sustainability reports, Reformation offers a transparent look into what they’re doing sustainably and ethically, while also acknowledging opportunity for improvement. This report shows the sense of responsibility the brand expresses and is just one of the several ways Reformation differs from traditional retailers.

With 17 store locations, Reformation is expanding from online retail in its own style.

Instead of looking through stacks of messily folded clothes to end up not even finding your size, Reformation finds a way to avoid this problem. At Reformation’s Georgetown location, the sales floor is set up into several clothing racks, with one of each piece displayed. This allows the customer to view all of their options in a simple way and eliminates the treacherous chore of digging for

sizes. Instead of picking up and juggling multiple garments, the smart screens installed in the walls do all of the work for you. Displaying the products found on the floor, the customer is able to select the item they would like, specifying size and color. The piece is then added to a basket and a text is sent when the room is ready. The items are placed inside the dressing room by an employee in the sizes you selected. This process creates an effortless shopping experience that requires little personal interaction. In each fitting room, there is another smart monitor where you can order new sizes or different items of clothing. You can go through your entire shopping experience in Reformation store almost entirely without having to interact with employees. You can get in and out easily without the pressure of employees peering over your shoulder and the hassle of collecting your own clothing and sizes.

This type of streamlined shopping experience mimics the ease of shopping online with the benefit of being able to see and try on clothing; one of e-commerce’s biggest faults. Reformation is one of the pioneers of this new method of in-store shopping, and it seems that other stores will start to move in this direction. This hybrid shopping experience is part of the necessary evolution of the storefront. Without the use of technology, the storefront loses its power to online retail. In order to keep up with the evolution of retail as a whole, stores are going to need to reinvent their in-store experiences in order to create a captivating and easy experience for their customers.

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Olivia Tirmonia Relish D.C. Photo by Gabrielle Resnick

A

Student’s Guide

to a Sustainable Wardrobe

By Cooper Spezzano

There is no denying that our planet is facing some serious changes right now, and it is up to us to fix that. We are aware of the statistics, we have witnessed the protests, but we continue to contribute to the problem.

Despite our knowledge, we are still drawn to the affordability, efficiency, and convenience of fast fashion. As students, we are always in pursuit of a bargain. When it comes to clothing, fast fashion has historically been our best bet. Chic clothing at not so chic prices?

Sign me up. However, it is this mindset that is contributing to our planet’s demise. 18 million tons of clothing from fast fashion brands are sent to landfills in the US each year, and now it is up to us to fix it.

1

Shopping sustainability may seem time-consuming, but it really is not.

1. Alter Pieces You Already Own

Washington D.C. is known for many things, but not thrift stores. While thrifting is a great way to shop sustainably, there are other ways to be eco-friendly with your clothing. When thrift stores are not accessible, upcycling is a great alternative. Upcycling gives you the

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opportunity to transform a piece by embroidering, painting, or throwing on some patches while cutting down on waste.

every donation, a 15% discount is applied to your next purchase. Since instituting the recycling program in 2013, the H&M group has collected 78,000 tons of clothing through customer donations which are re-used, recycled, or donated to individual charity organizations. With H&M being so accessible to students in D.C., simply bringing your unused or unwanted clothes to the store, rather than discarding it in the trash, not only saves you money but also gives you a satisfying feeling that your unwanted clothes can be reused.

3 2

With GWFBA’s first-ever denim drive last winter and our most recent tie-dye event, the team recognized new trends in the fashion industry. Rather than promoting the investment of trendy pieces from fast fashion brands, the team was able to recreate styles spotted in stores in a more affordable and sustainable way. Reviving an old pair of jeans or a dull t-shirt back to life gave students the satisfaction of receiving new, fashionable clothing. By upcycling your wardrobe, you eliminate the contribution to the fast fashion industry, save money, and help the planet. Encouraging students to upcycle their clothing can help bring a community together by focusing on sustainability.

2. Donate Your Clothes

While throwing away your clothes away may be the simplest option to abandon your unused items, your actions are contributing to an environmental crisis. Fabrics are quickly accumulating in landfills, contributing to the world’s non-recyclable waste issue. Luckily, many brands are aware of this problem and are making conscious efforts to promote the recycling of clothes. H&M allows you to bring all unwanted clothes to their store, and for

3. Shop Consciously

What does it mean to be a conscious shopper? Simply, it means cutting down on your mindless purchases. Being a conscious shopper, you no longer feel compelled to buy clothing from unsustainable stores because you don’t crave short-lived trends that will most likely end up in landfills when new styles are introduced. Investing in a few staple pieces from ethical and sustainable brands will end up saving you more money.

This way, you are aware that you can wear this piece repeatedly while knowing that it’s not going to go out of fashion or fall apart after a couple of wears. One of the most difficult things about trying to be more sustainable is knowing where to shop. However, being in D.C., there are a multitude of brands, such as Reformation, Outdoor Voices, and Athleta that have a sustainable focus in mind.

With these tips, you can shop sustainably on a budget. Ultimately, achieving a sustainable wardrobe can help you save money, save the planet, and make a change for the better.

Somewhere D.C. Photo by Ali Akgun

The Revolution of the

S A V CAN TOTE

By Julia Shabshis

G

roceries, homework, and a spare lipstick - the common tote bag serves as a multipurpose fashion piece that doubles as storage for the typical fashionista. As style evolves and trends come and go, one item has stood the test of time - you guessed it, the classic canvas tote. Used by environmentally-conscious consumers, this bag can be used to replace single-use plastic and can carry around five times as much as the conventional plastic shopping bag.

Plenty of retail stores like Lululemon and Urban Outfitters have traded plastic for reusable totes, promoting sustainable shopping habits and combatting fast fashion’s contribution to environmental harm. While plenty of stores have shifted towards providing reusable bags for free or a small fee, consumers have done their part by bringing their own canvas totes for activities like grocery shopping and traveling. page 115

Julia Shabshis Photo by Sydney Elle Gray

Photo by Sydney Elle Gray

Gaining popularity in the 1940’s, L.L Bean released the first durable canvas ice bag, suitable for carrying ice from the car to the freezer. Shortly after, consumers began using the bag for food shopping and other household chores. Twenty years later, L.L Bean decided to repurpose the classic bag, releasing a newer, more feminine version that was more in line with the changing political and social landscape of the 1960’s. Over time, the brand added leather accents, colored trims, and zipper details, yet the sustainable concept and general shape of the bag remained the same. In the eighties, New York City bookstore, The Strand, released their own version of the tote - a natural, cotton canvas bag with bright red letters advertising the bookstore’s name, location, and slogan. This design characterized the tote as an advertising vehicle, leading other stores to copy the brands tactic.

The sustainable tote has remained popular with the public, reporting over 89,000 sales in 2016 alone. Strand totes are now available in every color, featuring designs of prominent figures like Michelle Obama and Ruth Bader Ginsburg, humorous slogans, and cartoon graphics.

The original canvas tote has remained classic in design but has evolved into a silent language of its own, telegraphing exclusive memberships, favorite publications, and coveted brands. Outdoor Voices, a new sustainable athleisure brand, conceptualized a reusable tote that is made entirely of recycled polyester fabric crafted from post-consumer water bottles that have been melted down and turned into fibers. The tote comes as a gift with purchase and has become popular amongst environmentally conscious citizens that favor the brand for their commitment to sustainable practices.

The New Yorker, an American weekly magazine, released their own version of the reusable tote bag that has become coveted amongst cultural elites and newspaper aficionados. In today’s climate, the newspaper-branded bag has taken on a deeper political context with the wearer demonstrating support for both the institutions content and environmental sustainability.

sustainable accessory. If flashy designer logos appeal to you, look into the Balenciaga Cabas leather-trimmed canvas tote or the Celine Horizontal Cabas, perfect for trips to the beach or to use as a carry on. If you prefer a tote with a more modest design, The Row Park XL leather-trimmed canvas tote and Valextra twotoned leather trimmed canvas totes offer designer quality with minimalistic flare.

Over time, high-end designers began noticing the popularity of sustainable designs and began releasing their own versions of the classic canvas bag. The Rick Owens tote bag, crafted in Italy from a nylon and cotton-blend canvas, proves to be a lightweight, durable, and chic everyday bag. The designer’s signature logos and imagery can be found embroidered onto the bag as a patch, contributing to its simple and elegant appearance. The Comme Des Garcons Paper Messenger Tote Bag is another sustainable option for those interested in designer totes. Crafted from a paper bag coated in a clear PVC, the bag boasts a chic exterior and a cotton-lined interior suitable for stashing all the necessities. The APC tote, made

by French ready-to-wear brand APC, is a durable cotton canvas with bold logo lettering. Available in bordeaux and blanc, this versatile and chic tote is the perfect

Today, almost every fashion house has their own version of the iconic tote bag.

What was conceptualized as a method for carrying ice molded into a symbol of sustainability, politics, and status.

As material goods gain symbolic association, designers are able to target various aspects of what appeals to a client - bookstores have targeted politically-geared consumers, supermarkets market towards eco-friendly shoppers, etc. As sustainability becomes integrated into the ethical ethos of many brands, canvas tote bags have circled back into the sketchbooks of designers. Sustainable investment totes are the new IT bag, and canvas has morphed into a cultural currency that has proven to stand the test of time.

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What was conceptualized as a method for carrying ice molded into a symbol of sustainability, politics, and status.

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Photo by Sydney Elle Gray

Faux pas?

L

ongevity is the perfect word to describe fur. It is a wardrobe staple that has withstood time and has refused to go out of style. The short lifespan of people in the early ages allowed fur to either be passed on through generations or disintegrate naturally when discarded. I believe that this type of fur wardrobe left a smaller environmental footprint, compared to the larger problems we face today.

Fur has always held a high value, it comes from a limited resource and it is inimitable. For most people, fur has always been unattainable. People who couldn’t afford the precious material wanted in on the look too, therefore the birth of faux fur.

There was increased demand for an affordable alternative to fur in the 1930’s, and in the 50s, polymer fur, made of plastic, was introduced. Polymer fur is light, and can be dyed any color.

To this day, designers are constantly looking for new methods to improve the quality and look of faux fur.

For example, to simulate the long and short hair sections of mink or otter faux fur producers can mix shrinkable and non-shrinkable fibers. It seems that the faux fur industry tries to produce products at the lowest possible price and at the fastest rate. page 119

By Katie Coolidge

Real fur was passed down for multiple generations, now it is disposable and expendable. As the new generation of consumers holds more and more of the buying power it is important to know the benefits and the faults of faux fur.

The plastic that makeup “polyfibers” in faux fur is not biodegradable. Faux fur sheds, “it’s going to put more small, tiny fibers into the ocean,” Jeffrey Silberman, chairperson of the textile development and marketing department at the Fashion Institute of Technology in New York. While faux fur may have severe environmental impacts, no one is arguing that real fur doesnt have flaws. Designers like Jimmy Choo, Furla and DKNY have proclaimed themselves as fur-free brands. This has become one of the biggest humanitarian concerns for designers, “It’s about time that the fashion industry woke up to the fact that fur is cruel, barbaric and simply incredibly old-fashioned...,” said English fashion designer and animal rights activist, Stella McCartney. The conditions in which animals are raised, is something many consumers push out of mind. Berardi, an Italian designer and his brand, based out of London, stopped using

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Photo By Zahra Meertins-George

fur several years ago. He claimed, “Fur has its limits,” he said. “Its beauty lies in the fact that it suits the animal and not the human.”

The one caveat is that fur lasts.

“Fake fur pollutes the world more than anything else,” declared Karl Lagerfeld. In contrast to the durability of real fur over time, people are beginning to think of fake fur as a disposable item, “They buy it, they wear it a few seasons, they throw it away, it doesn’t biodegrade [whereas] a fur coat gets recycled. People wear them for 30 years, they give them to their kids, then they turn them into throw pillows,” stated Tom Ford, the American designer and previous creative director for Gucci and Yves Saint Laurent.

Recycling of real fur is an emerging concept. People love vintage “everything-else” so why not fur? In this way real fur may actually be moving more towards a sustainable path as it increasingly ends up in thrift cycles and repurposed accessories.

In the end, there is no easy answer to this debate. If people are going to continue wearing fur, it is necessary that designers find a way to efficiently and ethically produce it. Animal trapping and farms need to become more humane. If farms relied on harvesting fur when animals die naturally it would be a better

alternative to forced breeding.

However we must acknowledge the flaws in faux fur as well. Plastic is not sustainable. Throwing away the pink fur jacket you got for a Valentine’s Day party is not helping the environment. The way faux fur is moving towards fast fashion is encouraging overconsumption of goods people do not need and will not wear ever again when the season is up. The disposability of Faux fur makes the entire principle of having a luxury item worthless because its not special anymore. If you can throw something away why would you pass it down?

Miuccia Prada, the head of an Italian fashion house, acknowledged it best, “this [fur] subject would need very lengthy discussion.” She additionally stated, “once you approach fur you should possibly approach the larger issue of sustainability and environment and maybe much more, all issues that” any company should be “committed to.” Regardless if you buy fake or real fur, the goal is to be a conscious consumer. Make sure what you wear lasts, make sure you love it and make sure you take care of it. What you wear should be special and valued to you, don’t let it end up in the oceans or decreasing the number of other living creatures on earth. page 120

Sustainability: the New Wave or the New Marketing Ploy?

By Lauren Durniak

S

ustainability is the newest buzz word, we hear it and see it everywhere. As we pass through the aisles of our favorite stores we are constantly reminded of what is and what isn’t sustainable. Younger consumers are beginning to value sustainability more than ever before and companies are starting to catch on. In order to reel in the younger generations, companies are beginning to incorporate sustainable practices into the manufacturing of their products.

Plastered across mission statements and packaging, the word sustainability is eye-catching.

When you buy something that has been deemed sustainable, you feel like you’re doing the right thing. While sustainability is an important factor for the future of manufacturing, there is little to no laws or guidelines regarding what can and what can-

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not be marked as sustainable.

With phrases such as “mainly sustainable” or “now sustainably sourced”, there is much left to question about what sustainability actually means.

If something is a percentage sustainable, does that mean its sustainable at all? And just because a company has a sustainability goal, does that make them a sustainable company?

Fast fashion companies practice some of the least sustainable and unethical processing manufacturing of their clothing. While H&M is now focusing its brand towards sustainability and decreasing its carbon footprint, there are no guidelines for what is truly sustainable. Companies create their own goals and procedures when it comes to sustainability, so there is no way to tell if they are actually implementing sustainable practices. While H&M has taken considerable steps in order to

become more environmentally conscious, there is no way to know if they are actually being sustainable, whatever that means to them, in comparison to other brands.

In 2018, the British Broadcasting Company (BBC) went undercover in London markets to investigate the clothing vendors. They found that vendors who were selling products labeled vegan and faux fur were actually selling real fur imported from overseas. When marketing merchandise as sustainable, there are no true guidelines or laws determining what is and what is not. You may think you are buying sustainably, but there is no way to ensure that what you are purchasing is actually sustainable. What is marketed as sustainable might not always be as it seems.

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s the demand for sustainable manufacturing rises, sustainability needs to be defined.

More education and transparency should be required from companies if their brand is going to profit from the concept of sustainability.

There needs to be guidelines and laws created in order to correctly label products as sustainable and to honestly inform consumers. It is important to note how sustainability has turned into one of the newest marketing strategies and that the label “sustainable� might need to be taken with a grain of salt.

Do your research, adjust your habits, and define sustainability yourself.

Don’t let corporations set your standards.

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DENIM DENIM

Olivia Tirmonia Relish D.C. Photo by Gabrielle Resnick

Photo By Zahra Meertins-George

By Aaron Mancus

F

ast fashion is currently the second largest factor destroying the planet. It has become a lucrative industry and its negative implications can be felt worldwide. In the past, shopping for clothes used to be an occasional activity done out of necessity. Now, shopping is as mindless as watching TV. About 20 years ago, consumerism was permanently shifted with the rise of the internet. Brick and mortar stores transitioned to online platforms; clothing became significantly cheaper, production costs dropped, therefore trends picked up in pace.

Fast fashion retailers have had wild success in capturing the demand for items that mimic what is seen on the catwalk, and creating and selling them for far less. Since the companies are only online, it is easier for them to reach a broad audience. Fast fashion is defined as inexpensive, trendy clothing, sometimes inspired by top designers that is replicated at a lower cost at breakneck speeds.

In the 19th century, producers sourced their

own fabrics like wool, leather, and textiles. After the Industrial Revolution, the manufacturing of clothing and fabrics became exponentially more efficient and less costly. Stores that specialized in selling clothes to the middle class, like department stores, began to flourish because of their large stock of cheap and available clothing. This desire for cheaper clothing drove the fashion industry to its current point today. Companies such as ASOS, Zara, H&M, and Topshop are a few of the main contributors to fast fashion. These companies create new designs almost every day, which are then put into production, and sold in store fronts and online within weeks.

In order to create clothing at such a fast pace there are massive environmental and humanitarian implications. The fashion industry is the second largest polluter of clean water after the agriculture industry, The pressure to reduce costs and speed up production of clothing forces manufacturers to cut corners and

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destroying the environment. The production of leather requires 300 kilograms of chemicals for every 900 kilograms of leather tanned, dumping thousands of kilograms of toxic waste into our water system. Polyester, one of the most popular fabrics used in clothing production, is derived from fossil fuels, which contributes to global warming and can shed microfibers that add to the increasing levels of plastic in our oceans when it is washed. But even supposedly ‘natural fabrics’ can be a problem at the rate fast fashion demands, as cotton production requires enormous quantities of water and pesticides in developing countries. This results in risks of drought, stress on water basins, threats to biodiversity, contaminating soil, and competition for resources between companies and local communities. ot only is there a massive environmental impact, but there is also a massive humanitarian crisis involved in fast fashion production. Sweatshops introduced in the 1900’s lead to the first garment factory disaster at the Triangle Shirtwaist Factory in New York City. This fire claimed the lives of 146 workers, many of them female immigrants starting a new life in America. The gruesome

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Zahra Meertins-George

conditions of sweatshops have now been outsourced to many developing nations such as Bangladesh, India, Cambodia, and Vietnam. Many of these countries have low wages and even lower regulations on the factories that produce cheap garments at a rapid speed.

The key to avoiding fast fashion can be summed up by fashion icon Vivienne Westwood, “buy less, choose well, make it last.� Consumers must shy away from the trendy designs that are pushed forward by the fast fashion industry. Rather than buying clothes for entertainment, consumers should buy for necessity, and reconsider what articles of clothing are actually necessary in their wardrobe. Before shopping, one should research the brands they buy from, or buy second hand clothing. Brands like Reformation, Everlane, Outdoor Voices, United by Blue, Vetta, and Alternative Apparel are just a few brands that are committed to producing sustainable and environmentally conscious clothing. Most importantly, wear clothes until they are worn out and remain conscious of the company you are buying from the next time you shop for clothes.

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Not All Fashion

Fairytales

Have a Happy Ending

A Look Into Longevity of Designers

By Nathalie Campbell Sustainability has been a hot topic in the fashion industry for a while now. So, I can’t help but ask these questions: how can manufacturers reduce the effects of fast fashion?

How can designers incorporate more sustainable practices into their lines? And even more pressing these days, is the question of whether or not the designers and their brands can sustain themselves?

We leave fashion shows, designer department stores, and even E-commerce platforms feeling inspired, mesmerized and excited about designers (both up-and-coming and already established.) With that, we assume the future of their brand will be nothing short of successful. But, it’s safe to say that the retail landscape is changing and with that comes immense challenges.

The reality is not so blissful and the fashion industry is no fairytale.

On Friday, November 11th, New York fashion designer Zac Posen, known for his elaborate, feminine, often fairytale-like gowns (quite literally, if you recall his illuminating Cinderella

Ashley Rodriguez Photo by Carmen Turner

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extravaganza for actress, Zendaya at the 2019 Met Gala), announced that he was shutting down his eponymous brand after nearly 20 years.

As successful as Posen has been in dressing A-List clients, from Katie Holmes to Claire Danes, he struggled to obtain further financial backing. Known for show stopping moments on the red carpet, like this past September when Sarah Jessica Parker wowed in a billowing hot pink number at the NYC Ballet Gala, Posen showed no signs of abandoning his sewing shears. It came as a huge shock when Posen revealed that his label was closing immediately, stating that his recently debuted spring collection would not even be put into production.

Just prior to Posen’s announcement, another fairytale folded. The beloved and ever aspirational department store, Barneys New York, closed its doors. The New York institution of nearly a

Olivia Tirmonia Photo by Zahra Meertins-George

century announced its plans to close a few months after filing for bankruptcy in August.

Barneys New York remained optimistic for a strong investor to emerge and preserve their stores. It’s the end of an era, but unfortunately, not entirely surprising.

The shutdown of Barneys and Zac Posen, are most recent in fashion news, but they are not isolated examples of retailers and designers that have undergone a fashion tale of woe.

Time and time again, revered designers in the industry fall to bankruptcy: Isaac Mizrahi in 1998, the Zac Posen of the 90s, became the epitome of American glamour after his first line debuted in 1987. The closure of his brand eleven years later, similarly to Posen, was not suspected and came as a devastating shock to the fashion world. It is not a

question of quality and relevancy, but oftentimes a matter of dollars and cents. In this unstable retail landscape consistency and longevity is no longer guaranteed.

The fashion industry is always in a precarious state, whether we like to admit it or not. The future of the industry, even for its most popular designers, remains unknown. However, there are plenty of instances where esteemed fashion houses have been able to redeem themselves. In 2009, the legendary Christian Lacroix closed its doors, flashforward ten years and Lacroix made a dramatic comeback at this year’s Paris fashion week alongside Dries Van Noten.

The list of fashion snafus and comebacks goes on and on. So, on a more positive note, plenty of labels do find their footing once again, but longevity for designer fashion houses at this rate seems virtually unsustainable. Here’s hoping that our icons like Zac Posen will still find their fairytale endings.

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sustainability

section Juliana Solorzano & Zeina Omar Photo by Carolina Garcia

spring

2020

The Capsule Wardrobe: How You Can Have More With Less

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rom the materials to the manufacturing process, there is no doubt the fashion industry has a detrimental effect on the environment. You may already know this, since environmental movements in the past couple of years have popularized the danger of fast fashion.

Recently, we have seen

Photo By Zahra Meertins-George

By Lauren Ofman

a rise in new brands focusing on sustainable manufacturing and production. This shift in the industry has created an impact in the way people choose to formulate their wardrobe.

The capsule wardrobe is essentially a mini or modified wardrobe of approximately 30-40 items total that can be

worn and repurposed in multiple ways. The beauty of this lifestyle comes from eliminating the need to overindulge in fast fashion brands and instead invest in versatile, high-quality pieces that will sustain a lifetime of wear.

There are numerous benefits to a capsule wardrobe, the first is

that a smaller wardrobe can simplify the otherwise difficult task of choosing an outfit each morning. It’s easy to fall into the mindset that a dream wardrobe is characterized by hundreds of clothing items. However, the amount of decision fatigue that you face when deciding what to wear is exhausting.

When you have fewer

items to choose from, it’s easier to visualize your belongings and create a perfect look.

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capsule wardrobe also promotes creativity and challenges your inner stylist to cultivate a look made from the same few items that differentiates itself from the rest.

Being experimental with your clothing can be fun. Having fewer items can encourage you to try out different styles through layering different pieces, pairing various textures or patterns together, or

playing around with different styles.

If you do feel like you need to freshen up your wardrobe, there are many sustainable ways to add to your capsule wardrobe.

Adopting a add-onegive-one mindset can help maintain your limited clothing selection: every time you add a new item of clothing to your closet, give one away. Delving deep into the hollows of a thrift shop is also a sustainable way to accumulate new pieces without contributing

to fast fashion and other environmental concerns.

I know it’s difficult to think this far ahead, but I can assure you that once you come to realize how many looks can be made with 3040 items, your need to buy more clothing will fade away.

I understand that there are factors that will inhibit you from engaging in this effort, like social media, where there is an unspoken norm to not be an “outfit repeater.” However, I challenge you buck this antiquated fashion rule and to try it out. Visualize your most worn piece: how can you make it new again?

Once you’ve done that, bring out your inner Marie Kondo and choose the items in each category that you love most. A general rule of thumb is to give away any items you haven’t worn in the past month or two (disregard seasonal items from that technique).

Keep in mind the colors that you are choosing and stray away from keeping to many patterned or brightly colored pieces.

Once you have limited your collection to 3040 items, try them on and form some outfits.

You can always swap pieces that don’t make sense with the colors or styles you originally chose.

Now you have your capsule wardrobe, comprised of all the items you know and love. Hopefully you will feel a little lighter and more free. Experiment with this lifestyle, experiment with your style, and experiment with sustainability in a timeless, fashionable way.

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Connor Gable

Q&A with GW’s Future Fashion Designers:

By Alexandra Lange page 135

CONNOR

GABLE

ANDREA

KANG

Sophomore, Connor Gable, has repurposed and up-cycled clothing over the past few years. Connor is inspired by new media and pop-culture references. He wants to design clothing that others can relate to in a genuine way and speak to them on an emotional level. While Connor has spent the past year and a half studying at GW, he realized that in order to pursue his passion for fashion design he needed to apply to fashion school. As a devoted member of GWFBA, he contributed to the organization by styling for the Spring 2019 fashion show, as well as modeling in the show. In addition, he acted as a photographer and model for many of our photoshoots. We will miss his unique perspective, incredible style and constant positive attitude. Connor's message to others is to take risks, whether or not it has to do with fashion and follow your true desires.

Connor Gable

Andrea Kang

Andrea Kang, a sophomore in GWSB, founded her clothing company, Jeanne Bleu, as a sophomore in high school. Jeanne Bleu focuses on upcycling denim into something on trend. Whether it is adding rips, patches, paint, or embellishments, her company customizes clothes into something personal. Kang has also played a part in giving back to various charities and promotes sustainability through her handmade one-of-a-kind pieces. Furthering her interest in fashion, she launched her fashion blog, A Kangster, as another creative platform for her to express herself. Her blog serves as an outlet to post her favorite outfit of the days to her favorite graphic design projects.

Through akangster.com she hopes to inspire people to find their own personal style and to wear what makes people feel their best. In the future, Kang hopes to start her own clothing brand that extends beyond denim.

MEL

Mel Weintraub

WEINTRAUB

Mel Weintraub, also known as Lil Mixie, is currently a freshman at the GW Corcoran School of the Arts. She started making clothing her junior year of high school and was inspired by streetwear culture. Lil Mixie started a few fashion blogs on Instagram where she would hold outfit battles to gain exposure and began promoting her own creations. As a sophomore in high school, Lil Mixie discovered her passion for graphic design and began doing freelance work for two websites. When she realized that her passions could work in tandem, Lil Mixie turned her own instagram account, @Lilmixie, into a creative platform showcasing the intersection between graphic design and fashion. She is working on making different types of content, like short videos with digital manipulation and intricately edited, dystopianlooking outfit shots. Moving forward, Lil Mixie plans to establish her own label, and act as the creative director of the brand, beyond just clothing.

When did you start making clothes and who inspired you?

GABLE: I believe I made my first piece as a senior in high school. I was inspired by my mom because she was the one who taught me how to sew. However, my mom never really upcycled or made her own clothing, so my inspiration has simply come from my appreciation for fashion.

KANG: I started experimenting with upcycling my clothes as a sophomore in high school.

Growing up, my mom used to make dress up clothes, halloween costumes, aprons, you name it, for my sister and I. I always loved watching her at the sewing machine, so once I got old enough, I tried making something myself. Since then, whenever I have the free time, I love to start new projects with the existing clothes in my closet! It is so rewarding to bring new life to my old pieces.

WEINTRAUB: I started making clothes my senior year of high school after falling head-over-heels for fashion and streetwear. I got into fashion blogging towards the end of my high school experience, which excelerated my love for the art form.

When I am creating, I am constantly inspired by the music I listen to, the art I see, and of course, other fashion designers. My biggest fashion inspiration is Korean public figure, MLMA. While I admire her as a musician, entrepreneur, and as a graphic artist, her content made me realize that there are no limits on creativity.

What are your favorite materials?

GABLE: I’m a fan of using stencils on clothing with acrylic paint because it allows for fluid image creation that can easily be applied to clothing.

Connor Gable Photo by Katie Coolidge

KANG: My clothing company, Jeanne Bleu, mainly focuses on upcycling denim, so that is definitely one of my favorite materials to use. I also love to add chains, leather, and pearls to denim… you can’t really go wrong with those. My favorite combination is definitely chains with pearls.

Mel Weintraub Photo Courtesy of Lil Mixie

Andrea Kang Photo Courtesy of Jeanne Bleu

What makes a one of a kind piece?

GABLE: A one of a kind piece to me, is something original and has a distinct design feature.

KANG: To me, a one of a kind piece is definitely something that has a story behind it. The piece should make you feel your best and spark memories when you wear it. Every time I wear my favorite one-of-akind piece I am always reminded of the time I made it and the process it took to get it to how it looks now.

WEINTRAUB: Uniqueness, by default, makes something “one of a kind”. I think one of a kind is personal to everyone. A garment being so valuable and unique, really comes from your connection with it. I truly believe that the answer to this question is simply based on personal, individual experience.

WEINTRAUB: I use anything I can get my hands on. Anything that is accessible is my “favorite material”. I have experimented with and used everything from a simple shoe dust bag, to safety pins and plastic. There are never any limits as to what can be incorporated into creating clothing or accessories, as long as it is used safely! page 138

What designer inspires you?

GABLE: A few clothing brands I am drawn to are Val Kristopher, BornFromPainSicko, and PLAGUEROUND. In a broader sense, most of the repurposing I’ve done on clothing is inspired by pop culture and media that I connect with, so it’s simply more about what draws my attention, rather than just clothing brands.

KANG: The brand that has inspired me most recently and the result of my favorite creation to this day, is the New York City based brand AREA. Their pieces are so unique, perfectly combining glamour with an edgy flair. AREA was founded by two designers who were originally from Kentucky and Holland, their story is inspiring because it goes to show that you don’t have to come from a “fashionable capital” to make it big in the fashion world. I especially love their twist on classic silhouettes, incorporating chain-covered blazers and embellished mini skirts. There’s not a single piece this brand makes that I wouldn’t wear, everything is just so fun.

WEINTRAUB: I wear mostly streetwear. I like to mix things up and wear vintage designer, “hyped” kicks, always way too much jewelry, maybe some custom cut-n-sew clothing. I really admire simple, streetwear, classy style, and look forward to making my pieces fit that aesthetic. Ideally, my brand looks like a crossover between labels like Helmut Lang, Alyx, Heron Preston, Crooked Tongues, Prada, Collusion, and my favorite customizer (and personal friend) Vandy the Pink.

If you could collaborate with a designer who would it be and why?

GABLE: I would collaborate with Val Kristopher. They make some of the most unique and intricate denim I’ve ever seen, while still keeping it simple. I also love how their products fit and anyone who wears a lot of jeans should check them out.

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KANG: That’s a hard one, but I would love to collaborate with Alexander Wang because his brand covers a broad spectrum from classic structured silhouettes to streetwear. He also targets the youngadult demographic, the consumers who I think would be fun to design for. I feel like young-adults are always experimenting with their clothes and are looking to wear the coolest, cutting edge styles. I think he would be my dream person to collaborate with also because of his energetic, fun personality.

Photo Courtesy of Jeanne Bleu

WEINTRAUB: While this is an ever-changing answer, at the moment, I would be remiss to not say MLMA, Takashi Murakami, Miuccia Prada, Alexander McQueen, Massimo Vignelli, or Raf Simons, to name just a few. These designers are exceptional. This is not only in fashion, but across all boards under the definition of design. Though some have passed, their legacies and styles are immortal, and to this day, I personally connect with their creations.

Mel Weintraub Photo Courtesy of Lil Mixie

What does your favorite piece look like?

GABLE: To be honest I don’t have a personal favorite. I just want whatever piece I’m making at the moment, to be better than the last one.

KANG: My grandma had this bag that her sisters sent her from Korea so she could wear it to her first Christmas party in America. One day I found it in my mom’s closet and I was the lucky granddaughter who got to keep it. The bag itself is covered in embellishments and pearls, but I found it hard to wear because it was an evening purse with a short handle. To make it more practical, I created a crossbody strap and added additional chain accents with a pop of orange weaved through the chain links. The additions are removable, so I can still wear it as the original bag. This is by far my favorite item in my closet and it makes it even more special that it was my grandma’s.

WEINTRAUB: I don’t think my favorite piece has been made yet, to be quite honest. I love creating and I love the process. I currently have some pieces that are still in progress, that will likely top whatever I could currently call a “favorite”. I have made shirts, hoodies, backpacks, t-shirts, jeans, and even a repurposed jean jacket made of jeans. I have experimented, and will continue to do so until I have a connection to a piece that is powerful enough to call it my “favorite.”

Any advice for aspiring clothing designers?

GABLE: I would not consider myself a clothing designer, but that is certainly what I am aspiring to be. All I would say is that if you have an idea for a design or even just an addition to an already made piece of clothing, bring it to life. Basic sewing is easy to learn and can go a long way. You also don’t have to design an entirely new garment, you can get a lot out of reinventing what you already have.

KANG: I think the main thing is trying to find what you do best and work hard on perfecting that first. For me, I realized that I wasn’t too bad at distressing denim, so I practiced and practiced to get more skilled at it. Don’t be afraid to try new crazy designs if you’re not going to do it, who is?

WEINTRAUB: Honestly, just start.

When I started graphic and fashion design, I had no idea where to start. I had never taken a single sewing class. I had never taken a graphic design class. The internet will serve you well. There may be a lot of frustration along the way, but I promise, when you can sit in front of a completed piece that you made by learning a new skill, … you will feel so accomplished! Just keep experimenting and don’t ever eliminate those “crazy” ideas, because sometimes they are the best ones.

BURBERRY:

The Brand’s Dilemma with Sustainability

By Giovanna Romariz Lino

T

he fashion industry is the second largest polluter in the world and consumers are becoming more aware of this. There has been a push to prioritize companies that acknowledge the value of sustainability, and hesitation to support those that fail to address it. Sustainability is a primary concern for consumers and in order for companies to continue to optimize their sales and remain relevant, their designers and managers must address the topic immediately.

When it comes to sustainability, companies have different opinions. On one hand, some argue that becoming sustainable is too costly and not worth the effort. While on the other hand, some brands view this extra cost as something that will be compensated by new clientele. However, it seems that the vast majority of Millenial, Gen X, Gen Z consumers believe that sustainability is a significant issue and that it should be addressed in the fashion industry.

With the influx of these concerned consumers, brands must adjust their strategies and undertake the topic of sustainability to stay competitive. For example, in the luxury fashion industry, fur has always been an important medium. In recent years, there has been a decrease in demand for the luxurious animal by product because there is a heightened awareness of the detrimental effects of the fur industry. For that reason, some designers are beginning to swap fur for something faux. In my opinion, this shift

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Maddy Platcher Photo by Carmen Turner

is beneficial and will have a positive impact on a luxury brand’s reputation.

One high end brand that is highly invested in sustainability is Burberry, the British fashion house created in 1865 by Thomas Burberry.

The company proved to be unique in the high fashion market when Thomas created Gabardine, a ‘breathable, weatherproof and hardwearing fabric revolutionising rainwear’.

Also adding to the originality of the brand is Thomas Burberry’s creation of the iconic pattern-based scarves, purses, and trench coats. In 2017, when the company’s annual report was released, environmental activists protested the brand because it had burned almost $29 million dollars of unsold inventory in a year. With the major repercussion of the brand’s lack of sustainability commitment, social media backlash, the movement #Burnberry arose to demand change. The protests proved to be effective since Burberry is now dedicated to improving sustainability inside the company.

As of now, the brand uses 58% of its energy and 68% of its electricity from clean energy sources and Burberry plans to stay committed to sustainability in the future.

The brand has made several promises to become more sustainable for 2022. For instance, Burberry has committed to stopping the use of real fur and burning unwanted items, become carbon neutral by 2022, and operate entirely by renewable energy. In addition, Bu rberry has

released a

‘Responsi bility Ag enda’

to set goals for increasing sustainability within the company. The agenda focuses on three areas: product, company, and communities. Each area is centered on achieving progress by making the brand’s product more recyclable, ridding the practice of burning unsaleable products, and impacting teachers and students by increasing mentoring programs in developing regions. The ‘Responsibility Agenda’ goals abides with the Paris Climate Agreement and the UN’s 17 Sustainable Development Goals. Burberry committed to becoming a 100% renewable energy run company, and to create a Manufacturing Excellence Program focused on enhancing worker wellbeing in the company’s supply chain. The brand has been recognized with two awards for its sustainable fashion approach: Leading luxury brand in the ‘Textiles, Apparel & Luxury Goods’ sector by the DJSI 2018, and ‘Bronze Class’ in RobecoSAM’s 2018 Sustainability Yearbook.

Furthermore, Burberry established partnerships aimed at increasing sustainability.

First, Burberry collaborated with Elvis & Kresse, a sustainable company devoted to rescuing raw materials and transforming it into luxury accessories, to make 120 tons of wasted leather fabric into selling products.

Second, the brand has launched a capsule collection made from Econyl, sustainable nylon made from regenerated fishing nets, fabric scraps and industrial plastic, developing a way to combat plastic waste while creating a circular fashion filled with luxury products.

Burberry is one example of a company that suffered political turmoil due to its unsustainable approaches to fashion. Now, the brand is fixing the problem by collaborating with sustainable brands, becoming more transparent with its consumers and stakeholders, and setting goals to increase sustainability at the company. My hope is that Burberry becomes an example for other haute couture to follow.

Photo by Sydney Elle Gray

Somewhere D.C. Photo by Ali Akgun

Emerging Sustainable Designers

By Grace Demeritt

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tores like Forever 21 earn their profit from fast fashion.

While these low prices can draw customers inside the store, it doesn’t keep them coming back for more. Forever 21 is going bankrupt due to a low turnaround rate. This means that a customer may leave the store happy, but as soon as that merchandise has been worn, the quality decreases, causing consumers to think twice before shopping there again. When a company offers low prices for low quality, shoppers eat it up, yet in the long run, the clothes don’t last and the waste adds up. Sustainable fashion pioneers are trying to solve this issue by producing higher quality clothes that will stay fashionable and sustainable.

Several companies have emerged in the past few years that focus on sustainability and longevity.

In 2011, Sunny Williams created the London-based company, House of Sunny. With two seasonal collections per year, Sunny promotes conscious consumption.

Not only does this method slow down buying, since less items are

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introduced, but it also allots the designers more time to source the most sustainable materials. Sunny refuses to use fur in her collections for ethical reasons. The company prides itself on quality garments that can be worn over and over again.

In 2015, Zena Presley started an online retail shop, where she mixes art with fashion to debut her ideal fashionable world. E-commerce creates a more sustainable approach to shopping, when brands have to get their merchandise out to physical stores, a lot of waste is created in the packaging and shipping process. This cuts out mounds of potential transportation and packaging that is not necessary for online shopping. Also, the company does not use mass production in factories, instead they choose to use local production to ensure better treatment to employees. Slowing down the creation process provides better quality and designs that will never go out of style. Presley also focuses her clothing line on silhouettes that are complementary to the feminine fig-

ure, as well as bright and fun colors, giving a unique aspect to her collections. Zena Presley’s motto is “customers buy stuff they actually love instead of impulse buying on a clearance sale”. This encapsulates the essence of sustainable fashion: pieces are timeless and designed to last a lifetime.

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ven more sustainable efforts have been made by designers like Richard Malone who has worked hard to maintain a company that produces clean merchandise. Malone’s clothing line does not use harmful dyes, exclusively uses recycled cotton, and reuses plastic by turning it into yarn and fringe. During the clothes making process, Malone warrants reduced water waste. This form of repurposing fashion puts their efforts toward sustainability on a different level than other companies. Malone focuses his company highly on ethics, as he believes progress is more important than profit, something major companies fast fashion companies don’t value.

Jordan Nodarse created the company Boyish Jeans in California last year. Because jeans are a staple fashion piece that will never go out of style, this company is based on necessity with the element of sustainability. Nodarse believes

“sustainable manufacturing is a movement rather than a trend” and aims the company’s goals toward environmental purposes. With each pair of jeans purchased, a tree is planted with the company One Tree Planted, this provides an incentive for the buyers while also adding to their marketing efforts on sustainable fashion. Boyish Jeans is an ethical brand that encourages shoppers to not buy multiple pairs of the same jeans. While using sustainable materials for this female-run denim store, the company advocates for a new era of fashion that still reflects the character of an old and classic pair of blue jeans.

The longer sustainability stays trendy, the better the quality and longevity of clothing will be, and more importantly, the better off our environment will be. As soon as more businesses catch on to this new and healthy fad, the faster our world of fashion will change for the greater good.

Courtesy to: Harper Bazaar and UK Vogue

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By Myles Laurie

Confronting Environmental and Labor Crises: How Denim Brands are Approaching Sustainability

Connor Gable Photo by Cooper Spezzano

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Cooper Spezzano Photo & Edit by Connor Gable

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ince the mid 1800s, denim has been a staple in the fashion world. Everyone wears it, from the gold miners in 19th Century San Francisco to the models of New York Fashion Week in 2019.

Jeans have surpassed the test of time because they are so versatile. While denim has proven to be a durable material, the manufacturing process is costly and hazardous for the environment.

any impurities. The viable cotton is then twisted into thread and entangled into large coils. Next, machinery weaves the lengthwise threads called “warp” with the horizontal threads called “weft” resulting in connected fabric that is ready to be cut and seamed by hand. Factory workers piece together different fabrics by hand and stitch them together, consecutively adding buttons and forming pockets in the denim afterwards. The denim is then stretched to the right shape and

296 Before going into detail about how the manufacturing process

gallons of water. of denim affects the environment, it is important to understand how denim is created. It all begins with farmers growing cotton, this requires ideal weather conditions with plenty of sunshine and moderate rainfall. After about 5-6 months, the cotton blooms and is ready to be picked. Once this occurs, the cotton is processed by farm equipment to cure the plants of

distressed by hand. The last step is the pre-wash and dry process, which indicates that the denim is ready for shipping and tagging.

To produce a single pair of jeans, it takes roughly 296 gallons (1,500 liters) of water. Additionally, the manufacturing of jeans requires using a large amount of pesticides to grow cotton, which is harmful for the soil. Along with

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the environmental injustices of the denim industry, there are equally controversial labor injustices. For example, the cotton industry in Uzbekistan, a prominent cotton-exporting nation, uses modern slave labor by forcing its citizens to pick cotton for unfathomably low wages.

While this is one case of inequity, poor treatment of factory workers seems to be universal. With denim being highly valued and strenuous to manufacture, workers are often exploited by corporations and states seeking to maximize profit off of cheap labor.

One brand that has made sustainability their main objective is Everlane. The brand manufactures their jeans in Saitex, the world’s cleanest denim factory. All sources of energy are renewable in Saitex and they cut CO2 emissions by 80%. In comparison to traditional production methods that use 296 gallons of water per pair of jeans, Everlane only uses 13.5 ounces of water after the recycling process is finished.

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imilarly, J. Crew and Madewell, an American brother-sister apparel brand, collaborated with Fair Trade USA, a non-profit organization that assists in making more suitable working conditions for employees while installing eco-friendly manufacturing processes. As of February, J. Crew and Madewell, have produced jeans using 75% less water, 65% fewer chemicals, and significantly less energy by manufacturing in Saitex. Along with their

up-

sustainable efforts, J. Crew and Madewell have prioritized benefits for workers, wage equality for women, and financial support for maintaining infrastructure in various communities in Vietnam. Having the Saitex factory located in Vietnam allows for access to more jobs for the locals in the area. The reasoning behind this is to promote social impact by including third-world countries in the exchange of financial gains.

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evi’s, the ultimate American denim brand, has also taken action in efforts to decrease water usage.

In 2010, Levi’s started the Better Cotton Initiative seeking to educate farmers about how to use less water, pesticides, and synthetic fertilizers when growing cotton plants.

As of today, 20% of Levi’s cotton products are Better Cotton. The company aspires to be 100% Better Cotton by 2020. In total, Levi’s has saved roughly 790,000,000 gallons of water and recycled about 530,000,000 gallons of water.

H&M, a Swedish multinational fast-fashion clothing line, began a partnership with WWF (World Water Forum) on the basis of water stewardship where they focus on being more responsible with their use of water and raising awareness about the growing water crises around the world. H&M also coordinated with their suppliers to create better optimization processes for manufacturing denim, such action was able to save roughly 118 million gallons of

upcycle water (450 million liters) in 2012.

In response to the environmental injustices of the denim industry, Patagonia started to manufacture with organic cotton and began using the “Archroma Advanced Denim” dyeing process, which saves 84%. The process also uses 30% less energy and 25% less CO2 than standard jeans.

Other Brands such as the UK brand, Monkee Genes’ motto “No Blood, No Sweat, No Tears,” guarantees all of their workers a living wage by contract. Further, the Dutch brand, Kuyichi, coordinates directly with their cotton farmers and pushes for them to become shareholders in the company with the hopes of decreasing profit disparity between the blue-collar workers and the company executives.

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hile there is clear progress that denim brands are making strides to be more sustainable, there are still many detrimental practices that are affecting the globe and causing humanitarian crises. As companies become more aware of these practices, it will be interesting to see how they continue to adapt to the demands of more conscious consumers and to the evolving state of climate change.

Jeans are sustainable in the sense that they can last for years through wear and tear. They are truly an integral part of most people’s wardrobe, but is it possible that they can be sustainable in an attempt to save the planet?

Connor Gable Photo by Cooper Spezzano

Cooper Spezzano Photo by Connor Gable

Connor Gable Photo by Katie Coolidge

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Connor Gable & Cooper Spezzano Photo by Katie Coolidge

Progetto Quid: A Sustainable and Socially Responsible Approach to Fashion

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taly is a country associated with many world renowned fashion brands. Personal image and presentation are highly valued in Italian culture which can be witnessed in cities throughout the north. Gucci, Versace, Armani are names known as fashion powerhouses by people in and outside the industry.

After all, these brands are frequently recognized for producing the most audacious yet elegant concepts. However, there are many small fashion houses that produce pieces that cater to more niche aesthetics, rather than the general public. One of these brands is Progetto Quid, located in the city of Verona, Italy.

The start-up brand seeks to eliminate two issues while producing marketable merchandise that can compete with the quality of larger brands. Important fashion houses initiate the process by donating leftover fabrics from their production lines in order to ensure quality. A measure of small scale recycling, the donations also prevent organized crime groups from fueling a lucrative black market. That is using cheap clandestine labor to produce affordable replicas of real highend collection pieces. Historically, criminal entities have been the ones able to get their hands on these fabrics rather than responsi-

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By Luca Fischer

ble projects such as Progetto Quid. Progetto Quid’s innovation doesn’t stop there. They employ women who have been discouraged from exploring and strengthening their talents due to violent and intimidating domestic situations. They provide a space for these talented women to learn about the components of a fashion house while simultaneously earning a wage. Creativity and ambition are fostered in an intimate workspace, everyone is encouraged to provide input. It is important for these women to understand the value of their contributions after years of abuse.

The venture was founded seven years ago by a small group of women. Progetto Quid now has six operational stores mostly spread out across the northeast of Italy. Most recently a store opened in Milan, where the company is testing its products in a more competitive market among a more demanding customer base. By the second year of business, the brand was awarded the European Social Innovation Prize for its role in promoting socially and environmentally responsible jobs. It is safe to say that their momentum is increasing and that Anna Fiscale, president of Progetto Quid, and her team are receiving positive feedback from clientele.

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hile visiting Italy, I had the opportunity to meet Fiscale and talk to her about her brand. She herself was inspired by her own experience of feeling caged in an abusive relationship. She provided me with detailed explanations of the issues she is attempting to tackle in italian society. I even got to see some of the collections featured in last month’s Venice Fashion Week!

Famous brands often sell off left-over materials to black market buyers at minimal costs in an effort to increase profit margins. Crime groups than use unregulated labor to reproduce cheaply made replicas of year-old collections, sold at a fraction of the price of the real deal. Fakes are often preferred by many consumers as to them the difference from the real product is minimal and the prices are too tempting to refuse. Many fashion houses do not care about these sales as the targeted customer base of these criminal groups is quite different from their own. Much of the untaxed revenue gained from this underworld siphoning of fabrics is reinvested in activities such as human trafficking and prostitution.

Ms. Fiscale has done an incredible job at stifling pollution and activities detrimental to the livelihood of many women by the single action of diverting the flow of left-over fabrics.

There is no doubt regarding the impressiveness of this project even though its scale reveals the vast room for improvement that remains. Italy is beautiful in many ways but stays a place where women are underrepresented in the workplace and where crime groups still dictate the lives of many people.

Pioneers, such as Ms. Fiscale, are demonstrating to society that it is possible to shape the fashion world away from the perceived parameters of famous brands and that this can be done with the added benefit of fostering a better world. We as consumers vote for what we want with our dollar and Progetto Quid allows us to contribute toward causes we believe deserve greater attention.

2019 GWFBA Fashion Show Spotlight Looks

Photos By Zahra Meertins-George

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2019 GWFBA Fashion Show Recap A

crowded kitchen consumed by eager students, ready to debut their first looks on a runway surrounded by breathtaking views of the city; a crowd of friends and family, shocked by the high caliber of the event they just walked into; decor that looked as if it was straight out of New York Fashion Week - this was GWFBA’s inaugural fashion show.

The room grew quiet

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By Lauren Ofman

as the models lined up.

Though we didn’t purchase a single clothing item, the models looked as if they just emerged from a recent issue of Vogue. Every look that graced the runway was cultivated from parts of our members’ closets - a celebration of everyone’s unique styles.

Nerves switched to confidence as the models approached the stage one-by-one trying not to break

their serious expressions. Walking onto a backdrop of white, each model stood out in their own way. The crowd roared as they witnessed their friends and classmates walk the stage with a sense of professionalism they had never seen before from peers.

Backstage, serious expressions turned to laughter and jumps for joy as the models changed into their second looks. Stylists,

models, and backstage volunteers worked in harmony to create a seamless transition that would keep spirits high.

A new surge of confidence struck the models as they embarked

upon their second walk down the blank canvas that was the runway.

According to some of them, the whole show felt like seconds, and the adrenaline kept them focused throughout the whole occasion.

Once the last model finished their walk and the music stopped, the crowd erupted into applause and every

member of FBA leapt as we concluded our very first and very successful fashion show.

Several rehearsals, meetings, and styling sessions all paid off - it was time to celebrate.

Talking to the crowd, it was easy to see the amazement they all felt about the event.

On every seat was a copy of our first edition of George, which

contributed to the overall excitement.

This fashion show demonstrated not only the professionalism of FBA as an org, but the passion and drive of its members. We worked in unison to perpetuate our message and show the GW community that we are a force to be reckoned with.

Photo By Athina Hostelet

My Experience in the 2019 FBA Fashion Show

By Myles Laurie

Photo By Zahra Meertins-George

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first became aware of the GWFBA fashion show after Ennis, a friend of mine and member of GWFBA, asked me if I was interested in modeling.

I had always been into fashion and wanted to be a model for a long time, so I eagerly accepted the offer. At the time, I believed this was something that could connect me to the right people at GW as well as strengthen my passion for something I had aspired to do for years.

A couple weeks passed by before I got an email from FBA calling all models to report to Duques for outfit fittings. At the fitting, I was surprised by how sophisticated everyone was. Everyone was moving with purpose, there were mood boards all over the white board of

the Duques auditorium. It was there that I realized how legit this fashion show was going to be. I began trying on different outfits with different stylists. After about five outfit changes, my three looks were chosen beyond my discretion and I was ready for dress rehearsal.

The two dress rehearsals were exciting. Little did I know what I was getting myself into.

I instantly became aware of how overwhelming a fashion

show could be. While it was overwhelming for the models, who at times did not know where to be or what to wear, I couldn’t imagine how overwhelming it was for the stylists and e-board members who had to coordinate looks and maintain fluidity on the runway.

Despite all the commotion, the two rehearsals were successful and prepped us for the event. pril 20th was the day of the event. Before it started, we had a small run-through that was similar to our previous rehearsal. We were ready. As time began to expire, we suddenly noticed that the venue in the Elliott School of International Affairs was filling up. I was thrilled with the turnout. The show started and everything went

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as smooth as possible. I was surprised by how calm I was on the runway. One thing that helped me keep my composure was not making eye contact with anyone that could affect my performance.

The reception was short, filled with many hors d’oeuvres where people conversed with one another. After the event, I knew I had to be a part of the organization. It definitely was a great first experience with GWFBA.

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The Show Must Go On

By Grace Demeritt page 163

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t my first FBA meeting, ideas were being thrown around faster than I could move my head to face each side of the room.

I was surrounded by so much creative energy and was instantly inspired. Everyone had innovative ideas they hoped to accomplish throughout the semester. While the idea of a magazine was discussed, we knew at the end of the day that a fashion show was going to be our biggest production of the semester. There was a lot of work ahead of us, and as a freshman in a brand new club, I was apprehensive.

The ideas took off from there and it honestly felt like a scramble. I wasn’t quite sure how we would pull it all off. When we

overwhelming.

When we were told we had free reign on decisions, Lauren and I were just two freshmen trying to figure out the best way to go about everything. There were moments where I wondered, “how do I even go about this?”, and then I would get a spurt of energy where I would say “this is how we are going to do it”. As a freshman, it felt incredibly strange taking charge and making decisions for peers that were t the first fash- certainly more qualified than me. ion show for It was my first real GWFBA, everyleadership role, one was learning as they went. Our and if I were to take anything from looks were docthat experience it umented on a wouldn’t be how styrofoam board to properly hang of poorly lit polaroids. Finding the clothes, or how to memorize the pieces that went into each look was order of looks in a fashion show, similar to playing “Where’s Waldo”. it would be how As the day neared, to be a confident leader. my job became decided on the date of the show, I had volunteered to model. Excited about what was to come I came to the dress rehearsal ready to help. It wasn’t until I arrived that the members of E-Board decided backstage needed a helping hand.

Lauren Ofman and I took the job, leaving our modeling days behind us. At the time, I didn’t realize what my new role would entail, but I ran with it.

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I never got to see the show because I was backstage handling all of the changes, but in my eyes I got to see something far better. There is a first time for everything and I was lucky enough to be part of GWFBA’s first fashion show. The show led me to change my major, and gave me insight into where I want my career to go.

Had I not become a part of this organization, fashion marketing would have just been a distant dream. I am so thankful for making this choice, and can’t wait to see where the club grows in the next show and the many years to come.

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GWFBA Fashion Show: Stylist Experience

tyling for GWFBA’s debut fashion show was an amazing and meaningful experience. The process started off with a few brief group collaboration sessions where each stylist would present their initial looks, there were about five of us, each with our own creative vision. After much trial and error, all of the stylists would meet and

narrow down a universal vision for the show.

Although we each used items from our own closets, we were able to come together and create a cohesive vibe with our individual clothing and accessories. Once each stylist finalized their

Photos By Athina Hostelet

By Nicole Pollack

outfits for the show, the students who volunteered to model came in for weekly fittings.

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oon after that, we got right into full rehearsal mode and next thing we knew the day of the show was here. Luckily everything came together and we all breathed a huge sigh of relief once the last model came off the runway. Overall, this

experience taught me so much more than just how to style. Working so closely with students who are all passionate and driven about creating a space for those who are interested in fashion at GW has been one of the highlights of my college experience so far. This is only the start for GWFBA and I can’t wait to see what is next!

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Interview with 2019 GWFBA Fashion Show Director: Dex Frederick

By Alexandra Lange

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ex Frederick is a rising senior at GW, studying Interior Architecture in the Corcoran School of the Arts and Design. Frederick has always had a passion for design and focuses his work on creating innovative, practical designs. Frederick spearheaded GWFBA’s first spring fashion show taking the directive lead.

After studying abroad his entire junior year in Paris, he hopes to return to GW and assist with the production of what will hopefully be the organization’s second show.

ly evolved, at one point, about two-four weeks prior to the show I felt like a production manager as well.

Q: What was your role:

Q: What was the hardest aspect of putting the show together?

A: To be honest I don’t know what my official title was but in the beginning, I assumed the role of “creative director,” (I really do dislike that title; everyone on the team was creative.

More importantly I think that name has become stained, but that’s just my two cents). My role quick-

Q: What was your favorite moment of the show?

A: Easily the dress rehearsal a couple hours before the show. It was the first time we were able to get the models in the looks and in the same space as the actual show.

Everyone was nervous, but it was the moment we all realized this show was coming to fruition.

A: It’s between two aspects. Finding a place to store the looks was really difficult. We had a lot of clothing that was loaned to us. We needed to find a place to store it that was safe and more importantly free. It was tough

but we found a spot. I remember one day after a dress rehearsal there were about six of us who were pushing clothing racks through the streets of Foggy Bottom…I’ll never forget that. The other difficult part was securing a location. We must’ve created plans to hold the show in five to six different locations…we even considered doing it outside at one point.

Q: What lessons did you learn?

A: I learned how difficult it is to manage people…and so many of them. I’d never done anything to this scale, with so many moving parts and things that could and did go wrong. It was all really new to me.

Q: Was there someone or something that inspired the way the show was run.

A: It’s always Tom Ford.

He’s the best. He’s at the

top for a reason. Obviously we weren’t producing anything near the level of Tom Ford, but the shows’ concept was influenced by creating elegant looks that flatter the models’ bodies, and that’s all TF. Q: Do you see yourself doing something like this in the future?

A: I hope. That’s a tough question though because

of me. I think at the very least I see myself running a team of designers in the future.

Q: What was the experience like before, during, and after the show?

A: Prepping for the show was a lot of work, I mean we are talking about months of work. Lots of meetings, coordination, rehearsals, fittings, it was hectic, especially since

we were all college students with crazy schedules. The show itself was exhilarating. I had convinced FBA to produce this show, spend a great deal of time and money on its production and all the while I really didn’t have anything to show for it.

The show was finally tangible proof. The aftermath of the show was tough. I was ready for the next project. I wanted to do it all again.

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