George Issue IV

george spring 2022

The Virtual Runway:

Is the New Fashion an Absence of Humanity?

The Collab Market Takes The Fashion Industry

Fashion Companies in the Face of COVID-19 Let’s Talk

RESET A Look into Avant-Garde

TikTok & The Trend Cycle:

How the App is Influencing Fashion Trends issue no. 4

george issue iv spring 2022

contents

Andrea Kang & Olivia Tirmonia Photo by Andrea Hakim

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01 DC Highlight Talking Sustainability with DC Sustainable Fashion Collective, 13 ByLil Bikini Interview, 15 London-Skye Roberson Is Stitching Together A Name For Herself, 17 Breaking Down Barriers Against America’s Latinx Art Scene, 25 Representation in Media and Fashion, 31 Brand Highlight New Balance: Unapologetically Authentic, 35 Behind the Brand: The Evolution of Gucci, 41 Designer Highlight Q&A: Rachel Zoe on All Things Fashion & Business, 49 Jan-Jan Van Essche’s Timeless Designs, 57 The Life and Legacy of Thierry Mugler, 59 The World of Westwood, 61 A Look Into Avant-Garde, 65

02 Reset Let’s Talk Reset, 69

03 Now Trending Fashion Companies in the Face of COVID-19, 75 Fashion Wholesale & Startups in 2021, 81 The Collab-Market Takes the Fashion Industry, 83 The Virtual Runway: Is the New Fashion an Absence of Humanity?, 87 From Runway to Social Media Feeds: Consumers Take Charge, 89 TikTok and the Trend Cycle: How the App is Influencing Fashion Trends, 93 The Rise of the Man-icure, 95 We’re Going Places, 99 The Hand-Painted Jacket: Streetwear’s Most Stylish and Storied Item, 101

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Editor-in-Chief Grace Demeritt Magazine Graphic Designers Adis Santoyo Andrea Kang Brooklyn Ramos Debbie Acrich Emily Morris Jack Couser Mia Fishman Roi Hayshi President Andrea Kang Vice President Olivia Tirmonia VP of Visual Content Roi Hayashi VP of Events Anastasia D’Agostini VP of Business Outreach David Ruff Secretary Marion Citrino Treasurer Adis Santoyo

2122 Visual Alex Marootian Andrea Hakim Ava Zohn Brooklyn Ramos Christopher Cho Claire Dinapoli Diana Crompton Drew Barker Ennosen Yen Florence Tian Henry Parente Jatin Nayyar Kate Young Katerina Lev Maddie Balick Mia Fishman Noah Chin Roi Hayashi Sadie Pollack Shannan Richard Taylor Simone Williams Tien Huynh Zoë Petersen

Written Alex Marootian Anika Dilawri Ben Kahn Caitlin Guerin Camilla Diez Emily Morris Grace Demeritt Jack Couser Jacob Solomon Javier Orellana Julia Lehrer Katie Coolidge Kennedy Elsnes Nneoma Iloeje Zeniya Cooley Events Ana Cerda Anamae Garcia de Paredes Anastasia D’Agostini Ashley Ho Bella Lily Debbie Acrich Deniz Inel Eva Bizzarri Gabriela Aizenman Jack Couser Jessie Cohen Maria Lara Ornella Libi Penelope Pavlounis Sammy Lee Sloane Bernstein Sydney Horowitz Valentina Libi

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GRACE DEMERITT Hello everyone and welcome to the fourth issue of George Magazine!

Looking back on my time in GWFBA, I am amazed at how much this organization has soared. Having joined as a firstyear student in the organization’s first year on campus, I feel GWFBA, and it’s success, is extremely close to my heart.

What started as an outlet for students to celebrate their love of fashion at a school that does not offer many resources affiliated with the industry, GWFBA has become a home to many.

This magazine has truly been a labor of love. Being our fourth issue, FBA has really asserted itself on campus, and I could not be more proud of all the hard work that our Executive Board and members have contributed to this issue.

Inside, you will find profiles of some of our favorite designers and brands that give us the inspiration to go about our days in this strange new world we’re living in. Due to this massive shift in our lives, we as members of this organization feel the fashion industry as a whole has completely shifted, and wanted this issue of George to represent that shift as the world, and the fashion world for that matter, has aimed to reset.

I hope you enjoy this issue of George!

XOXO,

Grace Demeritt Editor-in-Chief

Grace Demeritt Photo by Andrea Hakim

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Dea

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Andrea Kang & Olivia Tirmonia Photo by Andrea Hakiim

FBA

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Dear GWFBA, It has been a refreshing year back on campus. After enduring multiple semesters of Zoom meetings, we finally got to meet the faces of our new members and reconnect with the old.

GWFBA was just starting out when we were both freshmen and over the past four years, we have grown alongside each other. Throughout our time here, we have assisted in the first ever GW-held fashion show, hosted unforgettable guest speakers like Rachel Zoe and Ivan Bart, and published four magazines (two of which were during a pandemic).

Andrea: Freshman year, I would have never imagined myself sitting in this position, and I could not be more grateful for all the opportunities and memories that GWFBA has given me. After being the lead designer for issues II, III, and (now) IV of George, designing my last magazine has been bittersweet. This experience has given me the chance to collaborate with other talented designers to work on a creative project that encompasses all of our hard work. Finally after two years defined by COVID-19, we could not be more excited to have a printed version of our fourth issue!

Olivia: As the former VP of Events to my current position of Vice President, I have loved being able to create a virtual speaking series during COVID-19, participate in photoshoots and assist in the growth of our membership to ensure GWFBA’s longevity post-graduation. GWFBA has dramatically changed my life at GW, and will continue to be a great memory of creation and friendships that I am so grateful for.

We cannot thank our GWFBA family enough for the hard work and dedication that they have put into making the organization what it is today. As we begin the next chapter in our lives, we will never forget what GWFBA has taught us as individuals, leaders and friends. We are so sad to leave GWFBA, but we know that this community is being left in the hands of an experienced new Executive Board that will accomplish incredible things in the future.

To every single member of GWFBA, thank you again for helping us foster a fashion-loving community at GW that will always have a very special place in our hearts. We can’t wait to see what’s next for you…

Love always,

Andrea Kang & Olivia Tirmonia GWFBA President & Vice President

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Alex Marootian & Zoë Petersen Photo by Roi Hayashi

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by Kennedy Elsnes I recently had the pleasure of interviewing the co-founders of DC Sustainable Fashion Collective (DCSFC) Gabrielle Clary and Joelle Firzli. DCSFC is a nonprofit organization in the nation’s capital with the goal of providing a platform for ethical fashion. If you go to their website (https://dcsustainablefashioncollective. org), you will find numerous resources including “The Good Map,” which partnered with Tribute Collective, Fashion Revolution US and DCVeganLife to create a guide to sustainable shopping and eating in Washington DC. When discussing DCSFC’s goals, Clary mentioned that its aim is to create a safe space where various groups can come together and form unity regarding various sustainable initiatives. Specifically, DCSFC focuses on fashion, but also lends its work to topics such as culture in order to inspire and engage individuals on various sustainability topics. DCSFC admits to primarily looking at fashion in a non-traditional way, and that they observe all the different components that go into the fashion system versus just looks on the runway.

When discussing the most challenging and rewarding aspects of running their non-profit, both Firzli and Clary had much to say. Firzli mentions the joy she feels when she sees a wide range of people come together, such as policy makers and designers to help create sustainable fashion strategies. An example of this is DCSFC’s annual conference titled “Unveiling Fashion” held at The George Washington University’s Textile Museum. This event invites leaders

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in the field to help discuss and better understand the specifics regarding the world of sustainable fashion. Despite the community enhancing benefits events like these have for leaders and students alike, many nonprofits have been hit with the impacts of COVID-19. With pandemic restrictions, the inability to host in-person interactive events such as these emphasize a major challenge in trying to keep up momentum and support for the organization’s initiatives.

However, Firzli and Clary feel passionately about the increase in interest regarding the topic of sustainable fashion. Firzli mentions that when she got involved in the field 10 years ago, only smaller groups in developing countries knew about the initiative.

Today, however, it is mainstream, and people are starting to ask more questions about where and how they are getting their products. Clary agrees, mentioning that the younger generation is much more in tune with sustainability, relying on fashion more as a way of self-expression, rather than purely to fit into trends.

When Firzli and Clary were both asked for consumer advice on how to purchase ethically, they emphasized looking at the action of companies versus their words. Do the companies you shop at have a sustainability target? Do they have steps to get to their goals and a sustainability report reflecting what they have done? The founders recommend reaching out to companies via social media and asking them these hard questions. In terms of ways to get involved with DCSFC and other sustainable initiatives, the founders highlight joining small community organizations such as Tribute Collective and Swap DC. They also mention the power of interacting within universities and the importance of connecting with the people and resources around you.

Overall, DCSFC is a fascinating and proactive organization aimed at making sustainability a widely understood and appreciated topic within the nation’s capital. If you, or someone you know is interested in sustainability, the organization’s website may be a great place to gain inspiration and garner more community experience within the city.

Abby Tuthill Photo by Alex Marootian

ByLiL

By Jack Couser

Amanda Rose Cabrera Photo by Maddie Busta

After sitting down to talk with Lily Khosrowshahi about her bikini business ByLil, I was at first, suddenly excited for it to be summer again, and second, filled with a renewed interest to explore the larger GW student-business community in the rest of the school. In conversation about some background surrounding her business and being a student/business executive in the fashion world, here’s what she had to say: page 15

Lily: I design for people in my age category, mainly in their 20s and early 30s. It also also depends on the type of person; people who like to be more *out there* and who like to show more of their skin and feel comfortable in it, but also like to have adjustability within their bikinis, versatility and reversibility.

Jack: I recently read a piece that Yahoo did on you, and I thought it was really interesting how you tie in reversibility In FBA we’ve talked a lot about sustainability in fashion, so I’m wondering: does sustainability have any part to play throughout your design process?

Lily: So that’s actually what I wanted to try to touch on a bit… Yes, sustainability plays a part in my bikinis, but they aren’t all entirely sustainable yet… I have one set that’s made out of what’s called EcoRib Gilli fabric, and it’s made from recycled plastic bottles. At my pop-up event here on campus, you’ll be able to see the new patterns that are coming out that I’ve never sold before. They’re made from recycled print fabric. So those are really good. The other bikinis I make are made from nylon/spandex or nylon/spandex shiny. So they aren’t as sustainable as I’d like them to be, but the reason why is that it’s still the start. I didn’t go there because it’s way more expensive to be sustainable and to have all these eco-friendly materials; right now it’s much cheaper, costs are less, but eventually I do plan on transitioning to fully sustainable apparel.

Jack: So what brought you into the realm of swimwear to begin with?

Lily: Honestly, I really did get brought into it, which is kind of crazy. I opened up an Instagram account two years ago, just for fun, because I loved (and still love) to post bikini pictures on my Instagram with my friends. So I just opened up this account that was literally just the bikini and the brand, and brands would literally repost my pictures. And then I think after two months, a manufacturer messaged me, and said: Look, I can make you bikinis. I thought, I’ll invest in this, I’m not spending that much money for a sample. Let’s try it; he could scam me, we’ll see what happens… And then, fast-forward two months, he sent the sample and it was really amazing. So, it kind of just happened... And then everything else kind-of came from there.

Jack: Has being a student at GW (which is more of a non arts-/non-fashion-focult in balancing your more business side, with your more creative/fashion side? How does that work for you?

Lily back (and I know everything happens for a reason), but if I could go back, I wish that I was majoring in fashion, however GW doesn’t have a major in fashion or even a minor here. They’re just talking about it right now, which obviously, I wish I could have done, but all the business classes that I took really helped me with my accounting and helped me with just crunching the numbers and teaching me how to market things. So that was helpful.

Jack: How do you manage your time between being a business owner while also being a student, having to go to classes and keep up with homework?

Lily: Honestly, it’s really hard. But it’s worked out really well (oddly enough) because of COVID. Again, everything really happens so strategically for a reason. my junior year when this all started. The way I set up my schedule was that Freshman/Sophomore years were really hard.

I took the most classes, the worst classes in my schedule, and then Junior year, my course load started becoming lighter and lighter, and it was online, so that was super simple. I was able to go to Miami, take pictures for a photoshoot and all that. But coming back this semester, it’s been hard, especially in the fall and winter months. Those months for me are where I focus more on the marketing and less on the selling. It works out kind of where I’m not as stressed. But now that the winter months are slowly coming to an end and spring is coming around, that’s when business is picking up and I have a lot more to do now. And, yeah, it’s stressful, but I mean, this is part of it. It’s my own path.

Jack: So when you think about the end of school, What feelings do you get? Do you get excited? Do you get scared? Do you know where you’re going to go next with your business?

Lily: It’s very bittersweet because I’m really sad to leave college, but I’ve also had a great four years and I see so much potential for myself beyond GW and with my business especially. So, I’m not stressing about looking for a job or anything like that. I’m looking to build my business, and see where this takes me instead. It’s I see that there’s new things to come, but also just sad because I’m putting away four years of an amazing experience. And what I hope for after I leave here is to work with online retailers like Revolve. I want to do partnerships with other brand collaborations and I want to have more pop-ups in Miami, LA and even potentially in Europe. I obviously want to build a stronger marketing team and just really make it. This is crazy to say, but I’m going to strive high, and try to build a global leading bikini business.

G LO BA L L EA D I N G B I K I N I B U S I N E S S

Jack: I wanted to ask, who is it that you design for?

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London-Skye Roberson Is Together A Name For Herself By: David Ruff The 19-year-old designer reflects on her creative journey and business trajectory

When the pandemic rolled around, many students transitioning from high school to college mourned the loss of rites of passages such as prom, graduation and freshman orientation. London-Skye Roberson, a 19-year-old student and graphic design major at the George Washington University, is one of the savvy outliers who chased after her dreams during her time in isolation.

Last June, Roberson launched a crochet line, eponymously named London-Skye Creations. Roberson hit the ground running during quarantine and spent a year developing her website, where customers can shop her creations directly. The designs, which range from knit cardigans to scrunchies, have made a splash on GW’s campus and social media — and it is only a matter of time before the rest of D.C. and the world knows Roberson’s name.

Roberson, a Georgia native, comes from a family of creatives and entrepreneurs. It was her aunt Sharon who taught Roberson, at 7-years-old, how to sew. “My aunt saw that I liked hot gluing fabric together for my dolls, so she showed me how to thread a needle and let me practice sewing fabric,” said Roberson. “She taught me a basic stitch that stayed with me to this day.” page 17

“On the weekends, I would wake up to the sound of my dad downstairs on his piano practicing for church services.

[Growing up], my house was always filled with music, and I got to see his creative process,” London-Skye shared in a recent interview. Her father gave Roberson the entrepreneurial kick (and lessons on trading stocks, too).

Roberson’s father taught piano and guitar lessons to children in their neighborhood while balancing driving gigs for Uber and Lyft. “I saw how patient he was and how he was able to create his schedule while raising my sister and me,” said Roberson.

However, the success of London-Skye Creations is the result of Roberson’s talent and tenacity. At 14-years-old, Roberson sifted through how-to videos on YouTube to teach herself crocheting. It all started with one knit top that Roberson made for herself. Her friends from high school encouraged Roberson to create a business while begging for custom handmade pieces of their own.

Due to the pandemic, Roberson’s time in isolation propelled her to launch her crochet line. “I do appreciate that time in that way,” explained Roberson. “Quarantine gave

Noah Chin & London-Skye Roberson Photo by Raulph Paul

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me the time to sit down and focus.” While Roberson was unable to sell her designs on campus at the time, she turned to TikTok and Instagram to attract customers. The designer credits social media as her “best friend.”

Now that classes have returned to in-person instruction, Roberson’s business strategy has aptly shifted to wearing her creations around campus — and this adjustment has proven to be lucrative. “When London wears her designs on campus, she almost always gets stopped with questions,” shared Hasina Tisdale, the designer’s roommate. “She hands out business cards with QR codes on them.

Watching her promote her business and reach the bigger pool of GW students is interesting to see.”

As she describes it, Tisdale has also gotten an “inside scoop” on Roberson’s work process. “I’ve seen her working day in and day out.

All her work is handmade, and she is doing everything by herself,” said Tisdale. “I didn’t even begin to understand that until I watched her get an order in and start immediately that day.”

Roberson sometimes feels “creatively drained” between juggling projects in the Corcoran School of Arts and Design and running the one-woman show that is her crochet business. However, the designer has found reprieve and solace in GW’s Black community. “We are small but mighty,” Roberson said while giggling.

When asked about other Black-owned businesses on campus, Roberson admitted that she hasn’t come across too many. “I don’t know if I am not in the right conversations or if I am not seeing the right people,” said Roberson. “I would love to collaborate with other Blackowned businesses on campus in the future.”

With no forthcoming collaborations, sustainability is on top of mind for Roberson’s future business endeavors. Roberson already uses recycled cardboard to ship out handmade orders to customers. The designer plans to use eco-friendly yarns instead of acrylic yarns because of their damage to the environment. “I want to decrease the whole fast fashion mentality and put out clothing with thought and care,” said Roberson.

“Handmade anything you should be willing to pay for,” said the designer. When customers shop London-Skye Creations, they are not only getting the product, but also Roberson’s labor of love.

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Noah Chin, London-Skye Roberson, & Lydia Aberra Photo by Raulph Paul

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Noah Chin, London-Skye Roberson, Ennosen Yen, & Lydia Aberra Photo by Raulph Paul

“Handmade anything you should be willing to pay for” - London-Skye Roberson

Ennosen Yen, Ava Zohn, Lydia Aberra, London-Skye Roberson, & Noah Chin Photo by Raulph Paul

Ennosen Yen Photo by Raulph Paul

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“This project creates a space for discussion about racism in America’s past and present.”

In the United States, Latinos account for 19% of the population, and yet Latinx artists and curators severely lack visibility in America’s art world. A 2019 study on diversity in the museum industry found that in eighteen major U.S. art museums, only 2.8% of featured artists were Hispanic or Latinx. Underrepresentation and marginalization still persist in the art industry, but former GWU master’s student Karen Vidangos is one of many figures in the industry who is breaking down barriers against America’s Latinx art scene. Vidangos is currently the Social Media Specialist for the National Portrait Gallery and for the Smithsonian’s recent project, “Our Shared Future: Reckoning with Our Racial Past.” Outside of her 9 to 5, Vidangos is a voice for Latinx artists and museum industry professionals across the country. What started as a blog eventually grew into the Latinx Art Collective, a first-of-its-kind digital database that gives Latinx artists a space to amplify and promote their work. I was able to speak with Karen Vidangos about her role as a Social Media Specialist and her various platforms to support the Latinx art world.

By Anika Dilawri page 25

You’ve just been brought on as a Social Media Specialist for this Smithsonian project “Our Shared Future: Reckoning with our Racial Past”. Can you explain what this project is and what your role is?

I was contacted a couple months ago about the possibility of coming onboard to this brand new Smithsonian initiative that is the first of its kind. The Smithsonian has such a vast collection of artifacts, but what hasn’t been talked about is the connection between the objects and the roots of racism from which they were created or obtained. This project creates a space for discussion about racism in America’s past and present. We’ve been able to highlight the stories of community members who have dedicated their lives to the pursuit of equity. I was brought in as a Social Media Specialist to help build the foundation of this project, so that this discussion can reach audiences outside of the museum. We don’t want this to be a solely Smithsonian project, but a project that engages with other communities and organizations who have done this work before.

Outside of your job at the Smithsonian, your work is heavily focused on the Latinx art world. Why did you feel a need to initially start your blog “Latina in Museums?”

I started the blog right after I graduated from GWU’s museum studies program. I knew there was something missing from the dialogue, and I wanted to create a platform for anyone in the community to speak about their experiences in the art world. I had done my own personal exploration on marginalization in the museum field, and this blog allowed me to expand the conversation beyond myself.

After the Latina in Museums blog, you started Latinx Curated–a social media project that sought to address the lack of diversity in the art and museum world. How did this project come about?

Similar to the blog, there was this desire to expand the conversation beyond myself. Scrolling through Instagram I noticed that the majority of the influencers in the art and museum industries were white, and this project was about seeing people of color step into the museum space. It wasn’t just a project that focused on Latinx artists but rather a project to document anyone in the Latinx community who was enjoying or engaging with art, whether it be visitors, curators or museum staff.

Karen Vidang os page 26

You’re now working on a third project that helps amplify the voices of Latinx artists: The Latinx Art Collective. Tell us more about this project and what you hope to achieve with it.

Karen Vidangos Courtesy Photo

During the Latinx Curated project I had a lot of artists reach out to me wanting exposure and wanting their voices to be heard. I didn’t want to ignore that and so I did research on my own and realized that one very basic idea had not existed: a nation-wide database exclusively for U.S. Latinx artists. The art world in Latin America has grown in popularity over the past couple of years, and they have a robust interest among museums and collectors, but the same can’t be said for U.S. Latinx artists. And a part of that is because museums and curators don’t know how to pin these artists down, so marginalization occurs. I wanted to create a platform that was nation-wide and easy to access for the artist and visitor.

This platform is for anyone who has an interest in Latinx art and wants to reach outside their immediate community and find an artist they might like.

What struggles have you faced as a Latina woman in the museum industry and how have you overcome these challenges?

Since the beginning of my career I’ve experienced various levels of microaggressions and marginalization.

It’s a hard feeling to pinpoint because it’s not outright “in your face” racism, but I felt it especially as a museum shop employee. My network of support, whether it be professional or personal, has been my rock when facing these obstacles. Hilary-Morgan Watt, currently the Director of Digital Engagement for the Smithsonian Institution, has been an incredible mentor throughout my entire career. She has taught me the ropes of the industry and helped me realize what I’m capable of. The second, who I don’t know personally, is Kimberly Drew. Drew is the former Social Media Manager for the Metropolitan Museum of Art. I loved the work she was doing as Social Media Manager at the MET, but even more important was her voice outside of her work at the museum. She’s not afraid to speak about the injustices within the field or about her experiences, and I admire her being so public with these issues and having such a strong voice. The work of these two incredible women keeps me going when I’m faced with challenges in my career.

What advice would you give to Latinx artists or any artists of color who are trying to break into the art world?

Network. With everyone. Not in a superficial way, but try to put yourself out there and find a connection—it’s kind of like making friends or finding a partner.

Build professional friendships and through that, your career will grow. It’s all about building genuine connections.

Where do you see yourself in the museum field in the future?

That’s a very good question, and honestly I don’t know. One thing I’ve learned from my ten years in this industry is that things change so quickly. I’ve taken such a windy, unorthodox path to get to where I am now that even if I do plan out my future five years in advance, it most definitely won’t turn out that way. But, inevitably I will end up where I want to be without knowing that’s where I wanted to be. I mean I found my way to where I am now by stumbling into it and discovering that this is what I really love.

Karen Vidangos Courtesy Photo

“I mean I found my way to where I am now by stumbling into it and discovering that this is what I really love.”

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Eunice Chang Photo by Roi Hayashi

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george issue iv george issue iv george issue iv george issue iv george issue iv george issue iv george issue iv george issue iv george issue iv george issue iv george issue iv george issue iv george issue iv george issue iv george issue iv george issue iv george issue iv

Representation in Media and Fashion by

by Adis Santoyo Santoyo

Multidisciplinary creative Rumi Robertson, most notably known for his college commentary, first became interested in sharing digital content during his senior year of high school, starting his first Youtube channel under the name Imurgency.

The current GW senior has amassed 102K subscribers on Youtube as of March 2022. The channel not only provides a glimpse into Rumi’s life, but also shares aspects of what Rumi finds himself to be interested in. Early on in his career, Rumi displays the composure and passion of a seasoned veteran. As an avid watcher of his content, it is clear that Rumi puts in the time to each video and is dedicated to his craft.

Rumi Robinson Photo by Adis Santoyo

R u m i R o b i n s o n

I had the pleasure of being able to speak with him about his start and most recent successes.

Recently, the 21 year old creator was selected to be a partner of the Youtube Black Voices Fund and was chosen alongside 133 other creators internationally. As we bonded over both of our passions for creating content, we talked a bit about representation within the creator space. In the conversation, we emphasized the importance of having people online that we can relate to.

Reflecting back on who our top content creators were that inspired us most, Rumi immediately mentioned Youtubers such as Kelly Stamps, Kingsley and Swoozie. These creatives emphasized the importance of creating content that is not only entertaining, but authentic, allowing their viewers a chance to relate to them as well as see themselves represented.

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After discussing inspiration and the start of his channel, we deep dived into the content he loves to make and wishes to explore. Rumi has been focused on creating commentary content at the moment, seeing wild success on multiple platforms using his voice in different capacities on Youtube/Youtube Shorts, TikTok and Instagram. On Instagram specifically, we see Rumi blossom in regard to fashion, posting many outfit pictures along with holding campaigns for fashion brands such as Express. This endeavor led me to wonder if he thought about spreading his wings to different genres. As of now, he has started to dip his toes into the fashion industry. Towards the end of 2021, Robertson was invited to attend a fashion show in D.C. for the black owned brand Hanifa. The founder of Hanifa, Anifa Mvuemba, has proudly embraced her Congolese descent and connects her artform to her heritage. Anifa and her brand have been featured in multiple editorial spreads such as Vogue UK, InStyle and Forbes. Along with her beautiful designs, came innovative ways to display her pieces. Sparking a lot of buzz, Anifa used 3-D model-less tech displays to highlight the couture alone. While the majority of Anifa’s show consisted of womenswear, this experience was one of Rumi’s highlights from last year.

Rumi plans to explore fashion on his second channel as it diverges from his main channel’s interests.

After conversing about his experience with the designer and the show, we discussed a bit about his own fashion sense. While Rumi does not want to corner himself into one box, he noted he sees his looks as a combination of retro with a modern twist. He is prospecting now, especially with graduation nearby, to find a balance between his personal style and future work attire as well.

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Furthermore, as Robertson continues to learn and examine his budding interest in high fashion, he also wants to continue to emphasize how important representation is to him. Growing up, while watching Youtube and seeing other creators on various platforms, Robertson mentions that it feels like if you are seeing content created but no one looks like you, it almost feels like it isn’t for you. As such, he hopes that through his own content, he can be another voice in the community allowing others to accompany him on these amazing experiences, while opening the door for everyone to feel welcome.

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Rumi Robinson Photos by Adis Santoyo

@imurg ency

New Balance: Unapologetically Authentic The dad shoe. It’s been slinking around under sneaky surnames for a while such as, Balenciaga,Yeezy, Puma and Nike. The chunky, blocky and frankly oversized shoe was originally engineered in the nineties with models like the Monarch, Spiridon and Disruptor. Now they can be seen everywhere on everyone - college students, influencers, celebrities and of course, dads.

New Balance was one of the first brands to really embrace the more hilarious and explicitly self-deprecating label of being the “dad shoe”, with the double edged sword of that label being the exact thing young people were craving. Instead of exclusively targeting their shoe to a capital F fashion audience, New Balance embraced their duality of being able to cater to all.

By Katie Coolidge

“ People enjoyed that the brand paid homage to its roots while conscientiously maintaining their early adopters of fashion influencers and models. Ultimately, New Balance owes their comeback to three things; inclusivity, collaborations and street style coverage.

Their product life cycle previous to the pandemic was essentially in the decline stage. The brand began as an arch support company out of Irish immigrant William Riley’s home in Boston, Massachusetts.

It was intended to be a very individualized product and as sales grew, New Balance intended to keep that objective.

Worn by supermodels in London and dads in Ohio.

In the sixties, New Balance launched ‘The Trackster’, the first running shoe with a rippled sole. In ‘78, they released their first shoe with their iconic logo. As their new models of sneakers gained adoption, their prices were able to start breaking high ceilings.

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For a while, the New Balance shoes were featured everywhere from Elle magazine, to the feet of tech mogul Steve Jobs, to former President Bill Clinton. At the end of their peak, New Balance even designed a shoe for former President Barack Obama to emphasize their “Made in the USA” motto.

From 2012 until most recently, New Balance had really declined. Their target generation had aged and was now much older (Generation X). Young people had no interest in wearing New Balance, especially as Adidas and Nike were filling the gap in athletic shoes and streetwear.

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New Balance 574 Photo by Katie Coolidge

For a while, it looked as though New Balance would ultimately go extinct as the grandpa shoe.

However, as 2020 came around, their product lifecycle regenerated for what we have dubbed as their “comeback campaign.”

From what can be seen, the biggest thing that New Balance did before launching their comeback was planning how they would do so. They curated a careful balance between general releases, paired with the exclusivity of limited-time collaborations. They needed to find a way to get the influencers back on board to ultimately convince the mainstream shoppers to start purchasing.

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In 2020, New Balance pumped out a full year of consistently new and revamped designs. By respecting the “vintage” identity of their brand and adding new twists to their old design, they were able to capture a new fashion fanbase that appreciated sustainability and exclusivity like upcycling or thrifting luxury one-of-a-kind pieces. In addition to releasing their own lines, New Balance more prominently collaborated with highfashion streetwear companies in order to do limited-edition shoes.

These brands include Casablanca, Aime Leon Dore and most recently, Aritzia and Bandier. By engaging and switching their entire marketing mix, New Balance has been able to capture an increased market share from an entirely different consumer base, showing growth in their profit and company size. They now have a mix of athletic and everyday shoes, while also having created a lifestyle brand, as evident from their new advertising campaigns and posts.

Their marketing concept approach to their comeback campaign can be seen most prominently on their verified account dubbed “@newbalancelifestyle” which showcases their lifestyle footwear and apparel. Here they exhibit their small advertisement posts signaling new releases of their shoes, like their Grey Day Collection, where they contrast their classic version of the 574 with their new, updated 57/40, as well as their limited edition 574, all of which are marketed as being able to be “worn by anyone.” They target their market of Gen Z and millennials by adding new features to vintage lifestyle shoes; yet, they retain their older consumer base by continuing to sell their vintage style sneakers with the same look and feel they originally loved.

Their biggest asset however, was capturing the attention of fashion influencers and celebrities who gave unsponsored, authentic photos in their sneakers.

Oftentimes sponsored photos bring less of an impact to sales than intended, mostly because audiences can sense how curated and insincere influencers are towards the product. New Balance had the opposite effect. Stars like Timothee Chalamet, Kendall Jenner and Hailey Beiber would be caught in the firing line of paparazzi wearing New Balance in their “off duty” fashion. Or in other cases, influencers would post outfit photos with their New Balance sneakers peeking out under their jeans. The content was genuine, because people genuinely love the shoe.

New Balance’s ability to be the all-inclusive brand speaks volumes about the company. They are unapologetically progressive, always looking towards the future of fashion, while retaining their original values and audiences in the process.

Courtesy of Stay Fresh Blogs, Hypebeast and New Balance

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New Balance 57/40 Photo by Katie Coolidge

London-Skye Roberson, Ennosen Yen, Noah Chin, & Lydia Aberra Photo by Raulph Paul

Caroline Capozzi Photo by Alex Marootian

BEHIND THE BRAND:

The Evolution of Gucci

By Nneoma Iloeje

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hen thinking of the most widely known and recognized luxury fashion brands on the market, Gucci is one of the first to come to mind. It’s inspiring to see a brand with the longevity that Gucci has had since its meteoric rise in the 1920s.

With their recent SS22/23 and FW22/23 collections, as well as the 2021 release of House of Gucci making waves, those in the fashion world are being reminded of the glamour and maximalism that Gucci has to offer. While still a high luxury brand, Gucci is not exclusively for the uber wealthy.

In more recent years, Gucci has become more prominent in streetwear trends and the “logomania” craze, as seen in the 2018 collab with Dapper Dan, an initiative to increase Gucci’s popularity amongst the younger demographic. It’s a brand that doesn’t take itself too seriously, and one that fosters creativity and playfulness while still staying true to its classical roots. If Gucci stays on this track, it will be what allows the brand to stand the test of time.

Founded in 1921 in Florence, Italy by Guccio Gucci, before the name became synonymous with its prominent standing in the pop culture lexicon, the brand started off as a producer of luxury travel gear and equestrian equipment for Italy’s top 1%. Seen in many of the brand’s pieces today are equestrian features meant to pay homage to their origins, such as the Gucci Horsebit leather tote bag. Over the years, Gucci garnered an immense amount of traction, earning themselves global recognition and becoming a top choice amongst wealthy travelers. The double G monogram logo and the iconic green and red Gucci stripes, introduced in 1933 by Aldo Gucci, quickly became easily recognizable to luxury buyers.

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Caroline Capozzi Photo by Alex Marootian

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Under the directorship of Guccio Gucci’s three sons, Aldo, Vasco and Rodolfo, Gucci turned its focus to luxury accessories, widening their inventory to include items like jewelry and eyewear.

With this came the creation of the timeless Gucci loafer featuring the metal horse bit, a shoe that, to this day, is immensely popular. Former FLOTUS Jackie Kennedy began to take a liking to Gucci’s accessories during this time, more specifically the Gucci hobo bag, accelerating its popularity among American women. Jackie Kennedy’s influence resulted in the bag becoming an instant success the moment it was seen on her arm. Because of her, the bag has now solidified its place in history as a wardrobe staple. From the 1960s and onward, the bag was continuously modernized and recreated due to its mass demand. The hobo bag has now been rebranded as the Jackie bag in honor of her. Also contributing to Gucci’s success in the American market was its use of celebrities. During the 50s and 60s film industry peak, Gucci partnered with celebrities to promote their designs on the red carpet. Popular actors such as Elizabeth Taylor and Peter Sellers were key instruments in pushing the brand’s popularity in America.

When Rodolfo Gucci passed on, control was given to his son Maurizio.

As depicted in the aforementioned blockbuster film House of Gucci, Maurizio struggled to maintain the past success of the brand. To combat this, American designer Tom Ford was hired to oversee women’s RTW and was eventually promoted to Creative Director just four years later. His first collection for 1995 FW RTW essentially revived the brand, putting it back at the forefront of fashion and saving it from bankruptcy.

The Tom Ford era of Gucci was strikingly sensual and reminded customers of the company’s glory days, effectively restoring the label. Riding on this sudden wave of success, Tom Ford also launched provocative ad campaigns that skyrocketed Gucci’s sales and brand image. After an extremely strong run at the Italian fashion powerhouse, Tom Ford parted ways with Gucci in 2004 and was replaced by Frida Giannini, who had previously been a handbag designer for Fendi.

Throughout the 2000s, Gucci saw many achievements both in the physical world as well as the digital world with the 2011 launch of the iPad app Gucci Playground, and the opening of several flagship stores worldwide. The brand also ran their first ad campaign for their first fragrance: Gucci by Gucci in 2007. In 2015, it was revealed that Alessandro Michele would be taking over as the label’s creative director.

Alessandro Michele, not unknown to Gucci as he had been working for them for twelve years, combined his own unique style with that of Gucci’s. He created clothing that was eclectic yet dignified, sometimes bordering on somewhat theatric. Michele’s groundbreaking androgynous and youthful designs revitalized the label and earned a lot of praise from younger consumers.

Although he was met with many mixed reviews, his work, which earned Gucci record sales in 2017, proved to be a hit.

Already a top label, Michele secured the brand as a staple fashion house and one that will remain on the minds of consumers for as long as it exists. A driving force behind culture and fashion, Gucci has effectively immortalized itself as one of the most famous Italian brands.

After years of explosive growth, Gucci has become a tour-de-force for forward thinking and inventive designs. On the brand’s success Michele quotes, “Gucci becomes for me a hacking lab, made of incursions and metamorphoses. I have celebrated the equestrian world of Gucci transfiguring it into a fetish cosmogony.”

Following his latest collections, it’s evident Michele is holding true to his statement.

Under his stewardship, he is ushering in the next great era of Gucci. While there are no specific details about what Gucci has in the works next, Michele is sure to preserve the colorful excessiveness for which the brand is known and loved.

Courtesy of Highsnobiety, Vremena Goda and Medium

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Alex Marootian Photo by Roi Hayashi

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RachelZ Rachel Zoe Courtesy Photo page 49

David: Tell us a little bit about how you got started in fashion and made a name for yourself in the industry.

Q&A: Rachel Zoe on All Things Fashion & Business

Zoe

By David Ruff

Rachel Zoe is first and foremost a GW alum, stylist, designer, author, TV personality and CEO and Founder of CURATEUR. Zoe has styled A-list celebrities from Anne Hathaway to Kate Hudson to Jennifer Lawrence and boasts a whopping 6 million followers across her social media channels. Zoe recently sat down with GWFBA to share her insight on all things fashion and business.

Rachel: When I was your age, there was no one at GW who was obsessed with fashion. I was a psychology and sociology major; I loved fashion but I did not study it because there wasn’t an opportunity for that then. Being a major in psychology and sociology, I thought my path was going to be a child psychologist – I was so obsessed with meeting all kinds of people. Being my own boss and working with different people, personalities, styles and insecurities – my psychology and sociology major came in handy. I approach styling as a bit of a therapist, sister, mother – someone who cares so deeply about my clients. I never got complacent about anything and that helped me as a CEO and entrepreneur on every level. You get kicked in the butt and it keeps you aware that your job is very precious. You have to respect the system, your partners and your clients. I learned so much in my years as a stylist because I treated it as so much more than that. It wasn’t my job, it was my life.

David: How did your experience working as a stylist and in magazines inform your entrepreneurial career endeavors?

Rachel: Working in magazines lasted only two and a half years before I went freelance at 25. I realized I could make more money in one job than I was making the whole year.

Going freelance was much more creatively satisfying because I was in the driver’s seat – that said, it is okay to not want to be your own boss or the CEO. It is not for everybody.

As much as I want to motivate people to do that, it comes with really high highs and low lows. When I went freelance, it was terrifying and incredible. I was very fortunate that I got a huge break from Tommy Hilfiger – he gave me the biggest job in my life: a styling job with celebrities and supermodels for two weeks in Los Angeles. I told him, “I couldn’t do it and why did he think I could?” and he said, “I believe in you. I know you can do this.” He believed in me and I didn’t believe in myself, at the time. Ultimately, that job was a “boot camp” in freelance styling. I was lucky that I got job after job after job at that point. I went on to style the Backstreet Boys, Britney Spears, Enrique Iglesias and the list goes on.

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David: What advice would you give to a student looking to find their fit in the industry post-grad?

Rachel: After graduating, I felt ready to start my life and career. I didn’t go to Central Saint Martins or FIT, I went to GW because it is such an incredible school to get a liberal arts degree and education. I got an opportunity to be a fashion assistant, and in full disclosure, had no idea what that job entailed. Long story short, when I got that job, I was ready to get my hands dirty and start working! Even though I was only paid to work three days a week, I worked seven. That was how it all started. I can’t emphasize enough how important it is to be prepared. You can never over prepare. I was always over prepared and it served me. I would approach every single job like it was my last and the most important. When I went to launch new verticals and businesses, I would always approach it that way. Even now, when I take on new partnerships or endorsements, the first things that I think about are: how can I make this work for them? How can I add value to this relationship? Why are they hiring me for this position? If my work does not serve the client, then I will not be happy. If you don’t leave a mark or a positive impact on the job you are hired for, they are not going to hire you again or recommend you to another person.

David: What are three staple pieces in your closet you can’t live without?

Rachel: I have so many things I can’t live without.

Especially as you graduate and move on to real life, you want to have a great suit that you can mix and match 800 different ways. You can style a suit till Sunday – flats, heels, jacket, no jacket, denim, t-shirt. Your favorite pair of jeans; I prefer a pair of polished jeans that are not ripped up or too faded. You can pair those jeans with a great sweater, accessorize it, add a jacket and you are good. A great coat goes a long way – it doesn’t matter what you are wearing underneath it as long as your coat is good. I am a huge coat collector, although, living in Los Angeles, I don’t get to utilize it as much.

David: With the rise of social media and online shopping platforms, do you consider the fashion industry to be more inclusive or exclusive than when you first started out?

Rachel: Oh my god, it is so much more inclusive now! It is a different stratosphere. I don’t think there was anything inclusive about the fashion industry when I started. I love the fact that people coming up in fashion, modeling and designing are diverse. I think it is only going to get better.

It is incredible to watch the ceilings and walls that have been broken down. You can’t get away with abusive treatment anymore. Even by looking at who is represented on runways, pages of magazines and ad campaigns, it is ten times more inclusive now. At least one hundred times more.

David: As arguably one of the first fashion influencers, how do you see influencers evolving in the future?

David: What inspired you to launch CURATEUR? Give us the run-down on everything CURATEUR!

Rachel: I never thought of myself as an influencer.

The whole “influencer movement” was very challenging for me. It was hard for me to give blood, sweat and tears in my career to see people getting paid to just take pictures of themselves.

I started to understand and go a little bit deeper into what it is to be an influencer, what it could be and what it could turn into. The leaders of the influencer movement are still relevant today and have gone way beyond taking pictures of themselves. I started to navigate the world of influencers and find ones that are organic to the Rachel Zoe brand and businesses. Now, we work with a great group of women that I really respect – a lot of them are mothers and have gone on to develop extensions of their own brands. I would like to see a little more philanthropy from them.

The whole influencer world is changing; I think some of the original influencers and those with substance to their brands are the ones that are here to stay. The term “influencer” shouldn’t be used lightly; when done with purpose, I think it is great. The power of social media is overwhelming – and there is a lot of good and bad that comes with it.

Rachel: Launching CURATEUR was an effort to style and curate for as many women as I possibly can. The idea behind it was to have a seasonal curation of five luxury fashion and beauty items from coveted brands. What it turned into is an online shopping destination of different brands that I curate. You get access to incredible things – CURATEUR is like buying a gift for yourself or someone else that never ends. I want to make women’s lives easier. The mission behind my brand, and anything I do, is to empower women and men to build their confidence from the outside-in and inside-out because they inform each other.

David: How does CURATEUR, as a subscription and membership service, fill a void in the online shopping space?

Rachel: People wanted to sign up because they want me to style them. If you are a member you get exclusive access to events. I lead different conversations and summits. CURATEUR is a curated selection of items as opposed to being an online shopping site with thousands of brands.

It is smaller than that, I make it easier for the consumer.

seasonal curation

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The mission behind my brand, and anything I do, is to empower women and men to build their confidence from the outside-in and inside-out because they inform each other.

”

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Rachel Zoe Courtesy Photo

David: Why have you decided to cater to the Gen Z and college demographic with your new business venture?

Rachel: It all starts with you. I am endlessly fascinated with your generation. I have learned so much from my niece and nephew and so many people your age because the opportunities you have in front of you are like nothing I have ever seen. In a weird way, it is challenging because there is so much competition but at the same time, there is so much diversity in the types of opportunities you have. You have opinions and care so deeply about so many things that matter in the world – things we didn’t think a lot about or care about because we didn’t have the access to information that you have. You are the future, and I am sure you hear that all the time. From what I have seen, you guys are going to be the change we need. When you try to please everybody, you please nobody. Trying to appeal to and design for your generation is more compelling to me, quite honestly.

David: What is your favorite GW memory?

Rachel: I loved The Exchange – it was the best bar, it was where we lived during our college years. Thurston Hall was honestly the best year of my life. I have the best memories. What happened in Thurston Hall can stay there. I almost burnt it down a few times using a toaster – rookie freshman mistake. I loved that I could be educated and have a college experience in one of the best cities in the country. I was there when Clinton was inaugurated, which was incredibly special. I remember doing my senior thesis on John Lennon and I was super stressed out. Duh, of course.

CURATEUR x GWFBA Exclusive Promo Code: “GW20” for 20% off checkout.

Terms & Conditions: Offer valid for new subscribers only. The CURATEUR membership will be added to your cart automatically when purchasing any product on curateur.com. Offer cannot be applied to previous purchases and cannot be redeemed for cash or used in combination with any other offer. The program is subject to Promotion & Referral Terms and Conditions. By participating you agree to be bound by the terms & conditions.

To redeem online, enter code GW20 in the promo code/discount code box at checkout to redeem online for 20% off the first purchase. Exclusions apply. Membership will renew at $9.99 one month after the initial join date and monthly thereafter unless canceled by the subscriber.

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Noah Chin Photo by Roi Hayashi

Jan-Jan Van Essche’s Timeless Designs by

Alex

Marootian

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ntwerp might be the most influential city in contemporary fashion. In the 80s and 90s, designers coming out of The Antwerp Royal Academy of Fine Arts were setting the stage for the future of fashion. Designers such as Martin Margiela, Ann Demeulemeester, Dries Van Noten and many others were redefining fashion, all from Antwerp. More contemporary designers such as Kris Van Assche of Dior Homme fame and the hugely influential Demna Gvasalia (Founder of Vetements and Creative Director of Balenciaga) have kept Antwerp and its Royal Academy of Fine Arts as one of the best places to spot talented young designers. One of these designers whose clothing has been around for a surprising amount of time, but still has yet to come into the mainstream is Jan-Jan Van Essche. His designs exemplify a distinct and new take on seasonality and gender.

Jan-Jan Van Essche is lifelong native to Antwerp and studied fashion design at the Antwerp Royal Academy of the Arts. He started his brand in 2010, where he introduced an incredibly relaxed and timeless take on avant-garde silhouettes. Jan-Jan weaves oversized pieces with neutral colors and organic fabrics to create a decidedly chill aesthetic. His design ideas are not all black and punkinfluenced, but organic and natural. His design process is unique as well, as he starts the looks for his collections by drawing the whole figure and outfit, rather than individual pieces. Instead of drawing out a jacket and then a pair of pants, the whole form of the outfit takes precedence. He will then break down the look into individual pieces or one whole piece. Any Jan-Jan rough draft could be a coat, cardigan and t-shirt, or it could just be a dress. It all depends on the shape and texture. This shows why he does not necessarily design for seasons, as he started out his brand only doing one Spring/ Summer collection a year. He has progressed to doing Fall/Winter collections, yet he separates these shows into “projects”, viewing them more as unique capsule collections, rather than whole collections.

His drawing process naturally lends to a lack of specific seasonality, as a silhouette could be Winter or Summer, just depending on the pieces and fabrics he decides are best. This distinctive emphasis on form also shows Jan-Jan’s vision for gendered clothing. page 57

Jan-Jan’s brand is unisex. His take on “gender-bending” is not through taking traditionally feminene or masculine pieces and re-designing them. Jan-Jan’s clothes are extremely genderless. His emphasis on shape makes it so that a pant is a pant, a jacket is a jacket, and a shirt is a shirt. His designs deftly show how frivolous the lines between “masculine” and “feminine” really are. His color palette reinforces this idea as he uses a wide range of neutral colors emphasizing an a-gendered garment, showing another aspect of Jan-Jan’s genius.

Jan-Jan’s first collection was named Yukkuri, Japanese for “slowly” or “take it easy”. This philosophy of ease is exemplified not only by his relaxed garments, but by his artisanal slow-fashion process.

His clothes are all made up of natural materials such as cotton, wool and linen. Some of his pieces are even naturally dyed, while others are left in the original color of their fabrics. These colors, mixed together with the materials and overall shapes of his garments, reinforces his central tenets of ease and relaxation. All of his clothes are made right in Belgium, showing not only his love for Antwerp but a locality that is becoming more of a rare breed in luxury fashion.

Jan-Jan’s clothes are really meant to be felt and understood up close. The pictures do not do it justice, as one cannot feel the quality of his fabrics, see the richness of his colors, or know how effortlessly cool a Jan-Jan piece is just by pictures. His designs lack any preconceived rules of fashion. Rather than breaking these rules with a postmodern irony, he does it with a genuineness that allows his clothes to be truly timeless.

Courtesy of Ssense and Friends of Friends

Shannan Richard Photo by Roi Hayashi

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By: Julia Lehrer

THE EL LIFE AND A AN ND N D LEGA LE GAC CY Y OF O F THIER HIE E RY R MUGLER UG U G

Manfred Thierry Mugler, more commonly known as just Thierry Mugler, is easily one of the most iconic names in fashion. Born in Strasbourg, France Mugler studied dance and opera at École nationale supérieure des Arts Décoratifs (School of Fine Arts).

His professional career began as both a photographer and assistant to other designers, eventually releasing his first independent collection in 1973.

The start of Mugler’s independent design career was heavily influenced by his dance background. His time in the dance world showed him how to convey a message through art, as he frequently created heavily exaggerated designs to convey a message.

The themes of surrealism, sci-fi and fetishization most effectively describe Mugler’s artistic vision. Mugler often used the inverted triangle shape in his designs.

The shape created a wide shoulder with a small waist, emphasizing his desire to make women look both powerful and sexy. This inverted triangle shape is most obvious in the iconic Seashell Dress from 1995, most recently worn to the 2019 Grammys by Cardi B. The top of the dress features a seashell in which the wearer of the dress emerges from and cinches in at the waist. Pearls are featured throughout the upper part of the dress to create the effect that the wearer of the dress is like the pearl inside the shell. Mugler spent his time creating looks that challenged the idea of what it means to be feminine, bringing together fashion and surrealism to create garments that are works of art.

After years of exclusively creating clothing, Mugler extended into the perfume industry, creating Angel.

The perfume was wildly popular, and in 1997 Clarins purchased a controlling stake in the brand.

coined “the wet look.” Handmade from silicon and silk organza, the wet look is made to appear as though the dress is soaking wet. Water droplet shaped beads fall from the dress creating the illusion that Kim is coming out of the water. The iconic inverted triangle shape is represented in the tight cinch of Kim’s waist created by a corset worn under the dress. The wet look was easily one of the most notable 2019 Met Gala looks and cemented Mugler’s legacy as both a designer and an artist.

After leaving his brand in 2002, Mugler disappeared from the public eye. While he was still designing for notable celebrities, he never appeared in public again.

In January 2022 his death was announced, rocking the fashion world. His designer peers, celebrities and major publications mourned his death, acknowledging his accomplishments as a designer. Taking inspiration from his past as a dancer, love of surrealism and desire to command power through human form, Mugler created garments that showcased a woman’s body in a unique and artistic way, and for that he will be truly missed.

Courtesy of Catwalk Yourself, New York Times, Vogue and Zeitgeist.

In 2002 Thierry Mugler stepped away from the brand.

While it is unclear the exact reasoning behind his retirement, it is thought that the rise in minimalism contributed to his departure. Eventually Clarins closed down the apparel portion of the brand due to poor sales, leaving only the perfume line. After his retirement, Mugler designed the costumes for the Cirque du Soleil show, Zumanity, and even the costumes for Beyonce’s first world tour. In 2011 the brand Mugler reopened, but this time without the man Mr. Mugler himself. Today it is led by Casey Cadwallader. One of the last dresses Mr. Mugler designed before his death was Kim Kardashian West’s 2019 Met Gala dress,

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The World of Westwood

By Emily Morris

Falling into Westwood’s World You may not have heard of Vivienne Westwood, but you have definitely seen the iconic British fashion brand.

Maybe, like me, you discovered Vivienne Westwood from the dozens of orb appearances in the outfits of beloved characters from Ai Yazawa’s Manga Nana. Maybe you have seen Westwood’s corsets on dozens of celebrities like Bella Hadid, Kourtney Kardashian, Megan Thee Stallion and FKA Twigs. Or maybe you are an avid TikTok watcher who saw the explosion of the single strand pearl orb necklace (commonly referred to as the Mini Bas Relief Choker). No matter where you have spotted Vivienne Westwood’s iconic designs, everyone has stumbled into the world of Westwood. Vivienne Westwood’s pieces, legacy and impact are everywhere in the fashion world. But what helps Westwood stay relevant? Why are pieces like her corsets and pearl orb necklaces suddenly coming back? The answer is simple. Vivienne Westwood is a fashion icon, trailblazer and the perfect example of a designer that stays true to their personality and beliefs.

Designing Early Punk Vivienne Westwood was at the forefront of punk fashion in the 1970s and the early 1980s. When Westwood met Malcolm Mclaren, future manager of The Sex Pistols, her entrance into the fashion world began. Instead of taking inspiration from the ongoing “hippie” movement at the time, Westwood and McLaren turned to the 1950s for their vision.

Mclaren opened the iconic 430 Kings Road boutique shop in London, originally called Let it Rock, which began to sell Westwood’s designs. Throughout the shop’s history and its several name changes, Westwood introduced Teddy Boy clothes as well as biker clothing. She also introduced fetish-inspired clothing –adorned with straps, zips, harnesses and leather– that mirrored bondage style. Not only did these designs become punk staples, but they mimicked military fashion. When the store was known as SEX in 1974, it was frequented by member’s of London’s punk scene. Notably, Westwood always had Mohair sweaters and her iconic t-shirts –which were slashed, pinned and included obscene messages reflecting her ideas of rebellion. As her designs became more handcrafted, mass media labeled them as punk rock. Although The Sex Pistols disbanded and punk became much more mainstream, McLaren’s store and Westwood’s designs were a significant part of the early punk movement in London. Today, you can visit the original store, now called World’s End, in London and take a photo in front of the big wooden clock. page 61

‘Tatler’ Trends and ‘Anglomania’ Appreciation Vivienne Westwood’s early runway shows were inspired by historical periods. Working with McLaren until 1984, Westwood’s designs mirrored everything from Pirates, to Blade Runner, to Greek History.

From this early runway era, we see the Rocking Horse shoes and the famous Mini-crini. Westwood may have left the boutique store and departed from punk, but her dedication to historical fashion continued and became more apparent over the years. From her ragdoll inspired early runway shows, she began her Tatler and Anglomania eras from the late 1980s into the late 1990s. Parodying the British upper-class, this new decade of designing integrated more British fabrics (like Tartan and Harris Tweed) and drew inspiration from British tailoring, French refinement, oil paintings, padding, the Royal family and slashed fabric.

Instead of an unstructured silhouette, Westwood arrived at a more hourglass one with more traditional tailoring and, at her extreme, incredibly padded busts and bustles. From the Tatler era, Westwood produced some of her most iconic designs: high platform shoes, dramatic evening gowns and high-structured corsets as outerwear. Aside from her major contribution to early punk, the Tatler and Anglomania eras are arguably Westwood’s most impactful contribution to fashion. The pearl necklaces and corsets that debuted in the late 1980s continue to appear on the red carpet, in film, music videos and on social media.

Androgyny Always Other than her major contributions to punk and historically-inspired styles, another reason Westwood is so iconic is because of her dedication to androgenous fashion. Many of her designs seem so unstructured. In the late 1990s and early 2000s, Westwood put her historical inspiration on the backburner and took a more asexual view on designing. Her crumbled clothing, asymmetric cuts, and eccentric designs are some of the most tailored and structured pieces out in the fashion world. It’s messy, but it fits together in the most perfect way. Notably, these asymmetrical cuts and unconventional designs appear in her suit and dress styles.

Let it Rock Legacy Vivienne Westwood’s fashion legacy has lasted about 50 years. Westwood has always been able to take inspiration from historical looks, style and designs, and rework it into something original. Westwood has created fashion classics that show their untouchable status through their constant reintroduction into the fashion world. The three-strand pearl necklace with the iconic org in the center, worn by celebrities like Dua Lipa and Janelle Monae, was introduced by Westwood on the runway around 30 years ago. Included in her return to pearls in the late 1980s, the three-strand choker was a part of her 1990s collection called Portrait. Westwood’s designs will forever be timeless, and the fashion world looks forward to new and old designs that will become staples, standing the test of time.

Emily Morris Photos by Andrea Hakim

Courtesy of The New York Times, Arts & Culture, The Met, Biography, Business of Fashion, V&A, LUXUS + Magazine and The Official Vivienne Westwood. page 62

Zoë Petersen Photo by Roi Hayashi

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A B F “i don’t do fashion” “i don’t do fashion” “i don’t do fashion”

o t n I k A Loo Avan While not particularly well known outside of small fashion circles, the work of master tailors Carol Christian Poell and Maurizio Altieri created a whole new aesthetic that hasn’t been replicated after their hayday. Offshooting from the European avant-garde movement trail blazed by Martin Margiela, and carried by designers such as Helmut Lang and Raf Simons, the designers of this new era of formalwear weren’t designing commercial products for a multi-billion dollar luxury house. They were educated artisans, masters of their craft who re-imagined not only what formalwear could be, but what could be classified as avant-garde. Carol Christian Poell (CCP) and Maurizio Altieri of Carpe Diem were innovators whose work is something that hasn’t necessarily been created after. The rise and relative fall of these names in fashion is a study on trends, how culture informs fashion movements, and in the end, just some fantastic art.

It’s vital to first understand the foundation of the modern avantgarde movement to analyze these three designers. At the start of the 1980s, designers such as Alia, Versace and Mugler ruled the runways with opulent and extravagant clothing. These designs represented the collective culture of the time, one of Reagenera new money opulence and rabid consumerism. These clothes, while being intricate works of art, also helped an age of recently rich 20-30 somethings define their value through luxury goods. Yet a fashion revolution was arriving in Paris, in the form of two designers. Rei Kawakubo of Comme Des Garçons and Yohji Yamamoto reinvented our understanding of what fashion could be. These two Japanese designers came to Paris not with haute couture and vibrant colors, but pretty much the opposite. Their clothes deliberately hid the model’s body through layers of oversized pieces. They designed almost all in black, and re-interpreted traditionally Japanese silhouettes such as the kimono into experimental pieces new to a Eurocentric high fashion audience. Yohji Yamamoto, in particular, helped lay the foundation for avant-garde tailoring. Trained as a tailor before starting his own label, Yamamoto’s ability to deconstruct formalwear helped show that even the most conservative piece could be new and interesting. Both Yohji and Rei’s reinterpretation of traditional Japanese garments also showed the next generation of avant-garde designers that they could take pieces traditional to their respective cultures and reconstruct them.

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By the late 80’s and early 90’s, the avant-garde movement had expanded far beyond just two designers. Most importantly, the European avant-garde movement had been kicked off by the Antwerp Six and Martin Margiela. The Antwerp Six were designers from The Royal Antwerp School of Arts who, in their own disparate aesthetics, helped solidify the avantgarde movement and gave the world a new fashion capital. Out of Antwerp also came Martin Margiela, a designer who cut his teeth at Jean Paul Gaultier as a design assistant, and was encouraged by Gaultier himself to go start his own label. Margiela launched his namesake label in 1988 and with it, he introduced many ideas and trends that we still see in fashion today, such as deconstruction, upcycling and modern muted colors for a new age of design.

Margiela also introduced the idea of anonymity through his use of masks on his models, a staple that has lasted throughout many collections. This idea of anonymity is seen most prominently in how Margiela outrightly rejected most interviews and has disbarred any images taken of himself.

Margiela’s ethos is to show the talent of the atelier and tailors above all, as exemplified in his signature logo, being just four threads that mark the existence of a clothing label on the neck of a garment. This type of anonymity is very prominent in the avant-garde tailoring movement, and its comparable respect for artisanallycrafted pieces. Margiela’s deconstruction of human form can be seen in his infamous Tabi boots. The Tabi boot deftly contorts the wearer’s foot in a way that introduces touches of macabre into Margiela’s work. From the side, a Tabi boot might be mistaken for a regular old ankle boot, but the Japanese split toe distorts the shape of a traditional European shoe, and the wearer’s foot, into something different. A sense of unease brought by the boots is exactly the point of its subtle yet meaningful deconstruction of the human form.

By the mid to late 90’s, designers such as Helmut Lang and Raf Simons embraced a stripped-down form of avant-garde. This minimalist approach was not simple, even as the name suggests. Helmut Lang used military accents and unusual materials such as latex and mesh to shake up his designs. Raf Simons looked towards punk and youth culture to inform his reinterpretation of uniformity. These designs were also noticeably slimmer than the voluminous silhouettes of Comme Des Garcons, Yohji Yamamoto and even Margiela. This era of avant-garde codes helped inform the next generation of designers in what could be more progressive designs. It also foreshadowed ultraskinny silhouettes and showed the possibilities for deconstruction in a minimalist framework.

Abby Tuthill Photo by Alex Marootian

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Abby Tuthill Photo by Alex Marootian

The late 90s to early 2000s saw the oncoming of a new avant-garde that reflected broader culture.

An existential dread of Y2K and the unknown of a new millenia informed the art of the time.

Movies such as The Matrix, Fight Club, The End of Evangelion and American Beauty were communicating wider cultural ideas. These works were questioning traditional values, critiquing the dogmas of corporatism and suburbia, and rebelling against “fitting in”. All of these messages can be seen in the work of designers such as Carol Christian Poell and Maurizio Altieri.

These designers reinterpreted different codes set by previous eras of avant-garde to introduce a whole new aesthetic and silhouette.

Building upon Margiela’s usage of anonymity to emphasize their work over their personality, Maurizio Aliteri never did a runway show or photography for ad campaigns and Carol Christian Poell is equally anonymous. Almost no pictures have been taken of his actual face and the few runway shows he has done have not only emphasized his clothes over a personal brand, but have also critiqued the very practice of a runway show. For his Spring/Summer 2004 show “Mainstream Downstream”, Poell eschewed all pageantry of a runway show. Instead, he had the show-goers gather at a bridge above the Naviglio Grande in Milan, and sent models in his looks and even individual pieces floating down the river. After the show, the clothes were hung soaking wet in a gallery for show goers to look up close at the seemingly ruined garments.

This collection not only critiqued the traditional fashion show format, but the whole concept of luxury fashion. Poell’s work is some of the most expensive you can find on the market, and for him to purposefully deteriorate them in this way shows Poell’s disregard for the pretentiousness of “luxury goods”.

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Another aspect of Poell's work that builds upon Margiela is the theme of macabre and the transformation of human form. Carol’s work wholly rejects the idea of comfort in his clothing.

His suiting and leatherwork is often stiff, much of it being uncomfortable to wear at times due to the garment construction. If you walk into any store that stocks CCP, you’ll probably see tissue paper stuffing the arms of jackets and the shafts of boots. This is because Poell deliberately crafts his clothes to have a very defined shape, one that wears the person rather than the person wearing the garment. This again reinforces the broader cultural context in which Carol was designing, one where a generation of artists were commentating on a new millennia of devaluing individuality and pre-packaged personalities.

Many of these garments not only transformed the human form through their stiffness, but also through intricate tailoring details that again showed Poell’s expertise. Poell’s more macabre details included titanium bolts bulging through the elbows of leather jackets and rubber construction on the outsole of a boot meant to look like the bottom of a prosthetic leg. These pieces create a similar unease as the Margiela Tabi does with an irreverence that really shows how Carol pushes the boundary of what types of construction can be used on a garment.

Yet all of this pales in comparison to many of Carol’s chilling accessories that really questions what can be deemed fashion. They range from asymmetric leather gloves to a human hair tie to Poell’s most infamous accessory, a handbag made from a taxidermied pig. These deliberately shocking pieces would seem juvenile if not for Carol’s true skill as a craftsman and tailor.

However these designs did not last forever. This trend of minimalism in the menswear space gave way to the mainstream Hedi Slimane era of the rock and roll French aesthetic of Dior Homme and Saint Laurent Paris. Maurizo Altieri’s Carpe Diem closed, Helmut Lang sold his company to the Prada Group and the explosion of creativity in the avant-garde space from the late 80s to early-mid 2000s seemed to be waning. American designer Rick Owens has really picked up the mantle of modernist avant-garde design, pushing explosive collections full of grunge and glam-rock influences. Yet the extremley spotty release schedule of Carol Christian Poell and the closing of Carpe Diem really kept this era of menswear more of a historical highlight than an industry-wide trend. In the past five years or so, luxury streetwear and oversized silhouettes have dominated the runway and the current zeitgeist.

The skinny jeans and form fitting clothes of the early-mid 2010s have now transformed into the current streetwear and Y2K aesthetic. With this in mind though, there are many indicators that the avant-garde tailoring community can still be a viable market. Which begs the question, is there a potential comeback for Poell?

Courtesy of Grailed, Vogue, The StyleZeitgeist, Business of Fashion and Alan Bilzerian

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let’s talk The COVID-19 crisis completely blindsided the fashion industry. Along with its sister industries, it came to a drastic halt as the pandemic began breaking records. Millions of employees were forced out of warehouses and into their homes for multi-month-long lockdowns and self-isolation periods. To say the common weekend trip to the mall temporarily ended would be a drastic understatement, as public places remained closed under state and federal law until late Spring/early Summer 2020. Only grocery stores, pharmacies and other essential businesses were allowed to continue operation throughout the pandemic. Because of this, and the crescendoing shortages of essential supplies, consumers had to shift their spending habits away from nonessential goods, heavily disrupting the fashion industry.

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However, it was not just the shift in spending habits and the forced closure of brick-andmortar stores that impacted the fashion industry. Major shifts in the way consumers shopped, the direction of consumer spending and the shift in consumers’ ethical demands were three of the post prudent driving factors in the fashion industry’s reset.

Let us be clear: fashion cannot and will not return to how it was before the pandemic.

Regardless of the reopening of stores, malls and shopping centers, the concept of going out to shop for a new dress has been upcycled. As the world navigated through the beginning of the pandemic, consumers were locked inside their homes and were unable to go out to a mall to purchase clothes. When they felt the urge to spend, they had to find another outlet that allowed them to do so.

Luckily, we live in such a technologically advanced world that the internet can serve as this outlet.

Andrea Kang reset transition piece Photo by David Ruff

RESET

By Jacob Solomon

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Since the beginning of the pandemic, the percentage of clothes bought online has skyrocketed—and not just in the fashion industry. Amazon accounted for over 40% of total ecommerce sales in the US in 2021, and the rise of ecommerce in 2020 hit a record-breaking 31.8%.

As stores have begun to reopen, that percent rise in ecommerce has fallen to 14.2%, on-par with pre-pandemic levels.

Because of these figures, retailers had to rethink their sales strategies in order to stay alive and competitive in the new mobile market. Brands had to revamp their online presence to reach their target market in their new home. Personalization of items, community-building campaigns and action, and the redesign of their online interfaces were crucial to assuring brands’ success throughout the pandemic.

The newly mobilized fashion industry had another issue rearing its ugly head. The direction in which consumers spent their money led to a decrease in total revenue and the amount of total items sold. If COVID-19 taught anyone anything— other than that of health and safety, of course—, it was that consumers focused on what was important to buy. Because of the stay-at-home orders, large sums of people were unable to continue working as their jobs required them to be present in an in-person environment. Those who were lucky enough to work remotely still had money coming in, albeit potentially less than before the pandemic. Thus, they did not face the same challenge as those who could not work remotely. People who were completely unable to continue working during this time, or people who had to begin relying on just one income rather than two, started to be more conscious of where their money was being spent. page 71

Especially in recent years, fashion has become somewhat of a statement. Logos adorn the front, back and sides of the garments we wear everyday. With those logos comes a price, however, and one that people began to see as superfluous.

In fact, people started to see the act of purchasing clothes that were purely for vanity purposes as superfluous.

This caused a tremendous decrease in the amount of clothes sold in retail stores during the thick of the pandemic.

Consumers were beginning to spend less on vanity and more on stability to make sure they would financially make it through. Because of this, the fashion industry suffered a massive loss, to the tune of almost $640 billion.

And it was not just the new mobilization and the massive sales loss of the fashion industry that triggered an industry reset; the ethical and moral demands of the fashion industry changed, too. Like the previous two factors, this occurred because of the influx of people having to stay home for months early on in the pandemic. This sparked a curiosity craze of sustainable fashion and the environment, urging people to research and understand exactly where their clothes were coming from. They began to advocate for the boycotting of unethical brands and the divestment of related industries that supported those brands.

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“Let us be clear: fashion cannot and will not return to how it was before the pandemic.”

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Fast fashion brands, specifically, took a huge blow as a result. At least that is what we thought, considering companies like SHEIN are thriving with an estimated revenue of $300 million each year. It is important to note that SHEIN reaches those who are looking for affordable clothing above all else, and who, maybe, still care about sustainability, but favor affordability over it. Despite their ethical concerns, SHEIN has seen great success since the surge of online shopping because of their large range of products available for purchase and super low prices, some things other brands cannot match. H&M also faced criticism for similar things and quickly reacted by pledging to reduce greenhouse gas emissions by 2030 and to only use 100% recycled materials by the same year. This news was well received on the base front, but professionals still deem the Swedish brand as unethical and unsustainable.

In addition to the displeasement of unsustainable brands, consumers have also gravitated towards brands with a purpose, a mission. Brands unlike SHEIN and H&M, and brands more like Toms and Pangaia. This is more of a confusing front because of the hypocrisy of consumers.

They say they do not want to shop at unsustainable retailers yet continue to do so at a massive rate. Perhaps because of the low prices and a large catalog of available products. Still, however, this has played a huge part in where the fashion industry now sits.

It is because of these factors, and many more, that we have begun to see the rebirth of the fashion industry.

Gone are the days of $3 t-shirts and $20 jeans, and in are the days of more sustainable options from brands with more artistic names and logos. Brands are transforming into better versions of themselves to entertain the new crowd.

For example, Canadian winter wear brand Canada Goose pledged to go fur free by the end of this year. Brands now have to shrink their catalog of cheaper goods and introduce the smaller yet more pleasing production of better quality garments to continue their revenue streak, despite its impending shrinkage. And they will have to invest hundreds of millions of dollars into their R&D to meet these new goals set by the consumers. However, if they want to stay in business this is a mandatory cost.

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All in all, the fashion industry took a major blow due to the COVID-19 pandemic. Although we will never see the same industry we did before we went into lockdown, the promise of a better industry in the future can keep consumer’s heads held high, and make them excited about returning back into the stores (or to brands’ e-stores) to seek out a new wardrobe. Welcome to reset.

Courtesy of Boston Consulting Group, Council of Fashion Designers of America, Digital Commerce 360, CORQ, Good On You, InStyle and VegNews

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Covid-19 has made a drastic impact on numerous industries throughout the world. The fashion industry is no exception, and all companies, whether it be local or international, have each had to face challenges and barriers head-on over the past few years. During the onset of COVID-19, fashion brands were heavily impacted when it came to manufacturing.

Initially, the garment supply chain was halted due to lockdowns and shipping restrictions emerging from China. Even brands who centered their supply in regions outside of China were still impacted as most raw materials are still exported from the region. What is key about the fashion industry, is that supply orders are usually placed months in advance. This became a problem when companies began to cancel their supply orders and payments, despite the fact that many suppliers had already purchased the materials and began working on orders. Waste wise, this created a large problem as suppliers were then left with no choice but to discard or keep goods already made. These supply chain problems were concerning especially for those who work in garment factories. In Bangladesh, 4.1 million suppliers were in danger of losing their jobs due to the $2.8 billion worth of canceled orders from fashion brands.

Supply chains became even more of a concern later on in the pandemic when countries began to ease up restrictions, but then close back up, making the day-to-day operations for fashion companies continuously unpredictable.

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The physical operations of retail stores throughout COVID-19 also proved challenging, requiring companies to find innovative ways to keep up business. The first half of 2020 was predicted to be the “worst in the history of modern luxury goods.”

These plumating sales primarily came from the lack of desire many individuals had to travel to the city or head to crowded malls. Suggestions such as embracing e-commerce were pushed onto brands due to the massive acceleration toward online shopping. Furthermore, to create any sort of revenue, companies began to implement more payment choices including “buy now pay later” options which hoped to reduce the rate of customers who abandoned their online shopping carts.

Despite the countless problems appearing in the fashion chain, many companies emerged with efforts to help the COVID-19 cause.

H&M took initiative and donated $500,000 to numerous COVID related organizations including the World Health Organization and Solidarity Response Fund, to help slow the initial spread of the disease. Vestiaire Collective, a luxury consignment site, also raised money for the pandemic by donating profits made by celebrity clothing to local charities.

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In Bangladesh, 4.1 million suppliers were in danger of losing their jobs due to the $2.8 billion worth of canceled orders from fashion brands

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In addition to money, some brands took a step further and began to manufacture PPE and other protective wear for the pandemic.

LoveShackFancy, a company founded in New York City, employed seamstresses to make over 1000 facemasks for local hospitals and essential workers from the brand’s excess fabric. Moncler, an Italian based company, also donated toward the effort by putting €10 million toward hospital construction in Milan. Taking these strong stances toward COVID-19 were important for companies especially as customers have become more conscious with where they put their money. Since COVID-19, customers have begun to align themselves more with company values they agree with, including social and environmental components. An example of this has been the increase in designer consignment brands such as TheRealReal, which has boomed in profits due to customers wearing their designer items less while looking to shop more sustainability.

Overall, as the fashion world continues to recuperate, and continuous COVID-19 variants emerge, it will be noteworthy to see the ways that companies alter their store strategies and brand initiatives for the future, or if they will be structurally changed indefinitely.

Courtesy of Fashion Revolution, Vogue Business, Elle, Journal of Fashion and Textiles and PayPal Newsroom

Olivia Tirmonia Photo by David Ruff

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Shannan Richard Photo by Roi Hayashi

Rina Suka & Shannan Richard Photo by Roi Hayashi

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By Giovanna Lino

The wholesale industry has changed dramatically during the pandemic. 2022 begins with not so many promises for this industry since companies have started to focus on their own e-commerce and pricing strategies to overcome their financial losses of 2020 and 2021.

Since the 2008 financial crisis, the wholesale retail system has been trying to keep their deals with brands to avoid financial losses.

When the Covid-19 pandemic hit, the industry suffered costs such as canceled orders and a practice of deep online discount. In addition, late payments became a major issue for brands as well. With the hit of the pandemic, retailers delayed payments to brands by months, leading designers to get into a difficult financial situation. In particular, small and mid-sized brands, who could not afford costs associated with this new selling strategy, have suffered the most.

Before the pandemic, wholesale and concessions were two different types of business models. The wholesale model directed department stores to purchase pre-seasonal collections of a brand to sell it later. The concessions model, on the other hand, allowed brands to rent a space inside a department store, utilizing a certain amount of their sales to pay for the floor space.

However, with this new scenario of large discounts and late payments, designers began experiencing increasing inventory costs and diminishing profit margins. To adapt to this new business model, retailers began ordering more capsule/exclusive collections, increasing the demand for brands’ products on a monthly basis instead of a regular, seasonal one. That way, consumers would be stimulated to buy more exclusive products, and brands would experience less inventory costs and increasing cash flows.

According to the Business of Fashion, Moda Operandi has just shattered down its men’s business, and Neiman Marcus is exploring bankruptcy options. In contrast, John Elliot, owner of a line that sells in stores such as Saks Fifth Avenue and Nordstrom, said he is putting more energy on his own e-commerce to sell his products at full price.

High luxury brands, such as Prada, have cut down their wholesale orders as well.

The scenario for 2022 is still unknown. With working-from-home still being practiced, there is a continuous demand for online shops and boutiques rather than well known wholesale retailers. In addition, there is a new relationship created by direct-toconsumer brands (DTC) that retailers have started to explore. Some retailers have even agreed to exclude DTC items from seasonal discounts and promised not to return unsold merchandise.

This major shift from in person to online shopping indicates where the fashion industry is heading. With less person to person interaction it begs the question: will physical brands manage to succeed in attracting and retaining its customers?

Consumer driven strategies aligned with each brand’s needs must start to take place for wholesale to continue its prominence in the fashion industry. As this market recovers from the current upheaval, new strategies need to be designed and implemented for the success of a rather traditional market.

Courtesy of Business of Fashion

2021

ON WHOLESALE & STARTUPS IN

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Olivia Tirmonia Photo by David Ruff

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he year 2021 has seen some major collaborations in the fashion industry. This new collab-market trend amongst designers has become successful thanks to the profits seen by brands partnering up with celebrities and influencers. These celebrity endorsed collabs, such as Rihanna X Puma, A$AP Rocky X Guess and Cardi B X Fashion Nova, allowed brands to recognize that consumers tend to flock towards items that feature a combination of their idols and branded merchandise. This rise in profit has led brands to wonder: if consumers like collaborations with celebrities, why wouldn’t consumers like collaborations amongst their favorite brands? The answer to this question is a clear rise in sales revenue.

Brands have now partnered together, creating hybrid logos in limited edition collection drops, in an effort to attract the market of consumers who want products that can’t be bought yearround. These drops not only offer a sense of exclusivity, but they also create a sense of urgency, given that collection drops sell out in a matter of hours. This helps the brands exponentially in terms of profit, as the cost of manufacturing is not as high as a regular line.

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In November 2021, Supreme partnered with Tiffany & Co. for a drop based on the classic Return to Tiffany & Co. line.

This collection features an assortment of items, such as the heart-shaped Tiffany tag with the Supreme logo plastered on the front, and a keyshaped pocket knife. In an effort to revamp the face of the company after being acquired by LVMH, Tiffany & Co. was seeking a new and younger target market. Having been released right around the time of Tiffany’s “Not Your Mother’s Tiffany” campaign, many old-school Tiffany’s consumers were upset with the collaboration, yet sales still soared. This alignment with Supreme was an extraordinary effort in shedding a new light on Tiffany, but also allowed Supreme to create their own line of merchandise, such as the classic Supreme T-shirt featuring Tiffany’s copyrighted blue color hue.

Because these collaborations open up new avenues for companies to make their own line while being featured in another brand’s line, both companies see a profit, leading designers to seek this avenue.

“...if consumers like collaborations with celebrities, why wouldn’t consumers like collaborations amongst their favorite brands?”

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onsumers also saw a partnership with Skims and Fendi in November of 2021. Having been codesigned by Kim Kardashion West and Kim Jones, the two focused their line on shapewear, dresses and lingerie, ranging in neutral to pink color tones. After the success of the November drop, the two companies had an additional drop in December of 2021, creating a million-dollar profit in just 24 hours. Due to Kim’s status and major online presence, these exclusive drops sold out almost instantly, proving that this is the direction that the marketing industry is headed.

The late Virgil Abloh also did another collaboration with Nike as one of his last projects, only this time it was a Louis Vitton spin on the classic Air Force 1 instead of his original collection with Nike that featured Off-White.

Having been revealed at the Spring 2022 Men’s Fashion Week show, consumers were eager to purchase the 21 colorways of the new Air Force 1 that blended design elements of both the LV monogram and the Nike Swoosh. Additionally, fans noted the word “air” on these sneakers; a tribute to Virgil’s first Off White collection with Nike.

Most recently, Gap has partnered with Kanye West’s brand Yeezy, in an effort to offer luxury branded goods at a more affordable price. When news of this deal first came out, Gap’s stock price went up by 19%, as many were expecting major profits from this endeavor. These expectations were met with the June 2020 release of the recycled nylon puffer, and the more recent September launch of the cotton double layer hoodie.

The list of examples such as these are endless. As marketers turn towards social media and influencers to push products, they are clearly turning towards the idea of exclusivity that these collection drops feature.

Consumer’s are past the point of mainstream as TikTok has burnt out trends quicker than a match being lit.

Instead, they want a product that they won’t see on every person they walk past on the street. Brands have now started to capitalize on this, whether it be through celebrity endorsed apparel or brand’s coming together to make a collection that won’t be on the market year-round. Either way, the industry is soaking up the profits of limitededition collections, and there is no telling when this trend will cease fire.

Courtesy of WWD Olivia Tirmonia Photo by David Ruff

It’s 1:49pm on Thursday, September 23, 2021. I’m fidgeting with my laptop charger as my history professor expounds on about ancient agricultural techniques. Suddenly, my laptop pings and an email notification slides onto the top-right corner of my screen. The Subject line, “Take Your Seat Now,” made me both curious and excited. I eagerly clicked on the email, which revealed the jet-black, vaguely collegiate letters: “GCDS”. Upon closer look, I realized this was an invitation to the Italian street wear brand’s Spring/ Summer 2022 runway show. At the bottom of the email there was a large count-down clock complete with the exact number of days, hours, minutes and seconds that stood between now and the show’s opening. There were only seconds until the show’s commencement.

Although I know this email was the result of having entered my information into a pop-up window on the GCDS website (probably in exchange for a measly 10% off discount code), I couldn’t help but feel special for receiving what felt like a personal invitation to Milan fashion week. Delighted, I clicked on the link to the virtual show. In seconds, I was transported from my grey lecture hall to a desert-like fantasy world. The show started with a pan shot of a crashed plane on a deserted tropical island. Moving past the burning rubble of the crash, the camera slowly revealed the first look: a pair of jeans with unique cutouts down the legs, a gleaming pearl chain top and a large sun hat embroidered with the “GCDS” logo. This set the beachy and casual, yet avant-garde tone of the show. In the following looks, elaborate beading was paired with bold graphics, oversized silhouettes were taken to classic resort-wear pieces, and snakeskin prints were reimagined in unique colorways.

The result was a dazzling cross between Versace’s Spring Summer 2021 Atlantis-themed runway show and Petra Collins’ I’m Sorry FW21 collection. Finally, the show closed with a spectacular display of model Raya Martigny standing in front of a gigantic luminescent jellyfish. My eyes widened at the final shot of Martigny, dwarfed by the blue and green seascape that swirled around her. When the credits began to roll, I sat in awe for a moment before getting up from my virtual seat and returning to my lecture hall.

While I appreciate the revolutionary opportunity these virtual shows provide to make the world of haute-couture increasingly accessible to more people, and to open infinite creative doors for designers, they also have the potential to lose their authenticity—and even their humanity. Pre-recorded fashion shows allow the designer to control every aspect of their brand’s image. Suddenly, everything is manipulated—the set design, the lighting, the model’s walk, the presence/absence of other bodies within the frame, the camera angle and viewer’s frame, the colors, everything. Everything is calculated to represent the brand and to display the clothing in an imaginative way.

In this way, the concept of a “show” becomes the very antithesis of the verb “show,” meaning “to allow or cause (something) to be visible.” Rather than revealing to the viewer the clothes in their tangibility, their virtual illustration obscures their reality. By selecting certain angles, lightings and backgrounds, the design team does something we, as page 87

a society, are far too familiar with—falsifying our real existence. By eliminating imperfections, the garments and the people wearing them become something entirely different, losing their authenticity and human state.

This new type of show also begs the question: does the fashion industry need human models at all? Why spend money on people when you can display the clothes on computer generated versions of the faces we know and love. When Casey Cadwallader, artistic director for Mugler, realized that an in-person Spring 2021 show was not going to be possible, he turned to CGI as a way of re-invigorating his brand while also pivoting toward a creative avenue that was conducive to a global pandemic. Having worked with her in the past, Cadwallader chose supermodel-influencer-Gen-Z-queen Bella Hadid to open his virtual show. Yet, the person—or, rather, the thing—that walked in Cadwallader’s show was a 3-dimensional reconstruction of Bella (what Cadwallader jokingly referred to as “Digi-Bella”). The show features Hadid’s avatar donning Mugler’s signature form-fitting, asymmetrical and sheer looks. But, as if her digitally engineered catwalk wasn’t mind-bending enough, the show manages to work in a scene of Hadid transforming into a winged centaur, flying through golden clouds into a setting sun. While this imaginative display of the traditional Mugler silhouette was nothing short of breath-taking, there was something lifeless and foreign about Hadid’s virtual doppelgänger. It was her, but it wasn’t.

In a world where the spread of digital information is lightning fast, retaining one’s personhood becomes increasingly difficult. The battle against commercialization and faceless “bots” at times seems hopeless. Not a day goes by without one of my friends saying, “I swear TikTok is listening” after viewing a video of something they had conversed about only moments before. This fear is usually met with comments of comedic defeatism like, “what do I have to hide anyway? Hello, Mr. FBI agent!” Yet, this type of humor is made possible by the inherent frivolity of the data we are referring to in these instances: what type of music we listen to, what type of media we consume on TikTok, what type of clothing we shop for, etc. What would happen if our bodies were subject to a similar type of public ownership? Although we’ve seen our fair share of physically invasive technologies such as Apple’s Face ID, 23andMe and social media monitoring, Mugler hints at something much grander and more personal. By creating a digital clone of Hadid, Cadwallader simultaneously gains ownership of Hadid’s body and calls into question the need for the human Hadid. The digitized version of a human body is no longer subject to the bounds of earthly existence, meaning its value could soon eclipse that of its material counterpart.

As the future draws nearer, it behooves us all to question: do we really want a fashion world beset by a latex-clad army of cyber supermodels?

Courtesy of Vogue, The Modems and Face

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The Virtual Runway: Is the New Fashion an Absence of Humanity?

By: Henry Parente

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From Runway to Social Media Feeds:

Consumers Take Charge

by Caitlin Guerin

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nce upon a time, fashion trends were dictated by the luxurious editorials showcased in the pages of fashion magazines such as Vogue and Harper’s Bazaar. As Miranda Priestly taught us in The Devil Wears Prada, the clothes we choose - despite the more convenient price on the tag - were all influenced by the colors, silhouettes and concepts seen on the runway, and in magazines. Every garment hanging in our closet was inspired by these powerful voices in the world of fashion, however, in the age of social media, consumers have taken over and are influencing the fashion industry more than ever before.

Influencers have always been around, but what used to be an elite group of the rich and famous living a life of luxury, has now grown into an online presence of the average person showcasing their everyday lives. Whether it be through artsy photos on Instagram or a trending video on TikTok, the influencer industry has revolutionized the world of fashion by giving a voice to consumers. With social media platforms such as Instagram, TikTok, Vine and Twitter, a whole new type of celebrity was born. These influencers are not just selling clothes, they’re selling a lifestyle through every new post.

The idea of online personalities blew up with Paris Hilton and snowballed into a billion dollar industry by creating new household names such as Kim Kardashian, former assistant to Paris Hilton, who went on to be one of the most influential people in the world. The Kardashians took television by storm in 2007 after the public fell in love with the controversial style and alluring beauty presented by the family. The global obsession with the Kardashians sparked the start of the “BBL” look due to the figure clinging garments they wore accentuating their curvaceous figures. Everyone wanted to look like and be like Kim Kardashian. Fast fashion brands such as Fashion Nova and Pretty Little Thing were mass producing garments for women who wanted to accentuate their figures just like the social media stars they looked up to.

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Society today is a nonstop cycle of evolving trends. Inspiration comes from everything; things such as politics, the environment and pop culture have an effect on the color, texture and construction of a garment. Fast fashion brands are constantly adding affordable items to their inventory everyday to keep up with the fashionistas that follow the ins and outs of what is deemed acceptable to wear, and what is no longer “in style.”

Social media has placed an immense pressure on society whether you have active profiles or not.

This constant need for a new trendy look takes a toll on the environment, putting a controversial light on fast fashion pieces. The unfulfillable desire of needing to look perfect 24/7 triggered a huge backlash from environmentalists, who believe that the attractive prices and trendy clothes on fast fashion sites do not compare to the damage they create by progressing global warming. The new trend became shopping sustainably at thrift stores, through secondhand apps like Poshmark and Depop, and putting quality over quantity by shopping at more luxurious retailers.

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The COVID-19 pandemic drove this trend of second hand shopping into a complete resurrection of Y2K fashion. People all over the world clung to Tiktok to interact with people virtually. The dance app quickly turned into an outlet for creative minds all over the world to showcase their passions and talents. Cloud bread, coffee frothers, tie dye sets and much more took over the newly found free time of those isolating at home. The Y2K fashion trends were comfortable, easy to recreate, vibrant and could also be a fun craft to kill time. One of the things that brought many of us comfort in isolation was leaning into our nostalgia, and binging the iconic shows and movies that reminded us of our childhoods. Although Y2K was already on its way back, social media platforms such as TikTok, Pinterest and Instagram exposed younger generations to the fashion, films, music and aesthetic that makes up the Y2K culture.

The users of TikTok started wearing wider cut jeans, velour tracksuits, tiny purses and pieces inspired by the A-list celebrities of the 2000s such as Britney Spears.

The popular influencers and celebrities on social media quickly joined in on the Y2K revival by incorporating pieces like baby tees, low rise denim and trucker hats in their everyday looks.

Even the person responsible for the BBL era, Kim Kardashian, participated in the Y2K revival by collaborating with the queen of Y2K, Paris Hilton, for a line of velour tracksuits inspired by the ones they were seen wearing in the early 2000s. Popular brands like Urban Outfitters started carrying Juicy Couture and a variety of Y2K inspired pieces too. As with every trend, a variety of fast fashion brands emerged with their takes on the outfits worn by Y2K figures such as Paris Hilton and The PussyCat Dolls. Even more luxurious ready to wear brands are releasing dresses almost identical to Paris Hilton’s iconic 21st birthday dress.

It’s exciting to see consumers depicting what goes on the runway while being eco-friendly at the same time. Fashion today is becoming more about what the people want, and less about what the magazines tell us to want. The bottomup trend is just beginning, and like many trends in the fashion world this shift of power may not last forever, but for now it’s nice to embrace the nostalgia and wear tracksuits again.

Courtesy of Vogue, Brydie, Refinery29, Who What Wear and Harper’s Bazaar

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popped up of people unboxing their Martha Calvo necklaces or even creating their own. A single creator was able to start a trend within a matter or weeks, and even after that, high end brands like of beaded necklaces. The beauty of TikTok is that anyone can go viral and anyone can start a trend.

Typically, in fashion, trends are the result of a trickle has shifted this narrative. Trends are starting from the comfort of people’s bedrooms and being sent up through the ranks of fashion sheerly from popularity on the app.

It is not just an individual’s style preferences that are impacting trends today, viral video trends are also causing a shift in the fashion industry. In early 2021 the “What I Would Wear to _’s Fashion Show” video trend went viral. App users posted videos of thembrand of their choosing. At imaginary Gucci shows, app users were sporting silk scarves tied around their heads, while at Jacquemus shows pastel pant suits were on display.

Some brands even leaned into the trend by reposting users videos and acknowledging the trend by creating their own, real, version.

This video trend showcased both the creativity of app users and how consumers perceive whichever brand’s fashion show they were recreating.

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that the app has caused. When a trend goes viral on TikTok, it is nearly unavoidable. The trend consumes the For You Page and creates the illusion that everyone has, or is doing, something. For example, when a green abstract pattern dress from House of Sunny went viral, the algorithm of the app made it appear as though everyone had this dress. The dress, and videos of people trying on the dress, went viral and the brand eventually sold out. Within weeks of this dress becoming popular, videos were being made explaining how the dress is played out and not cool anymore. House of Sunny prides themselves on sustainability and ethical labor practices, but when a dress goes in and out of style in a matter of weeks, it contrasts everything the brand stands for.

It is without a doubt that TikTok has made a lasting impact on the fashion industry, both positive and negative. The app allows for individuals to dictate trends and show designers what people actually want, rather than just being told what they should want. This new dialogue between individuals and designers creates a more interactive and personal relationship. Conversely, the rate at which trends grow and decline on the app is incredibly swift.

Within a matter of weeks a single garment can be deemed out of style and over played. This pushes brands to come out with new styles at even faster rates than before, contributing to the environmentally damaging fashion industry. With all of this in the fashion industry doing more harm than good?

Courtesy of Vogue and Input Magazine page 94

David Ruff Photo by David Ruff

The

Rise of the

By: Camilla Diez page 96

F

or the past year, the man-icure has been on the rise. The term “man-icure” isn’t just about men wearing nail polish as a statement or accessory, instead it’s used to reject the idea of masculinity and gender stereotypes, while also lending to creative expression and a form of freedom. Now more than ever, men are normalizing the man-icure.

Manicures have been a form of self expression used by women for years, however in current times, male celebrities like Harry Styles, Asap Rocky, Pete Davidson and Machine Gun Kelly have caught on. But this has never been just a trend, in fact it never will be. Men have been wearing nail polish for years.

Flash back to the 80’s and you’ll see Iggy Pop, Kurt Coubain, Lou Reed and David Bowie rocking nail polish. These rock stars were one of the first to disregard what is considered gender norms, and after all this time, it’s finally starting to become mainstream.

Social media has been a huge outlet for celebrities to share and influence others to use nail art as a way to express themselves, breaking down the idea of gender stereotypes.

Especially today, Instagram and Tiktok feeds have been filled with men wearing nail polish allowing the trend to prosper.

While scrolling through Tiktok, many have come across Lil Huddy, who has shown off his balck nail polish every chance he can get. And he’s not alone, as many celebrities such as Harry Styles, Tyler the Creator and Machine Gun Kelly, have opened up their own nail polish brands as well.

Nail salons have also seen an increase of men that walk in daily to get their nails done by 17%, according to the International Spa Association. It is expected for the men’s personal care industry to reach $81 billion in the next five years. In Los Angeles, Hammer & Nails, a nail salon just for men, opened to demonstrate that nail care and manicures aren’t just for women or celebrities, but for everyone. This is because everything from chemical face peels, to botox and nail polish, are being used in the day-to-day life of men in current times.

“Man-icures” have also seen a rise due to the current trend of androgynous clothing. As the industry moves toward genderneutral apparel, designers are saying yes to this new wave of fashion. Gucci, Rag & Bone, Vetements and Public School have combined their men’s and women’s fashion shows to eliminate the separation of the sexes on the runway. The male models are seen wearing dresses and heels, while the female models are seen wearing more loose and traditionally masculine outfits, like suits and trousers. With that, many male models and celebrities add nail polish to their looks. In fact, in the past few years, men modeling for Gucci, Chanel and Louis Vuitton have been sporting nail polish on the runway.

With big brands transitioning into gender-neutral fashion, these trends look like they are here to stay. Society is finally letting go of the status quo, allowing self-identity to come into play.

This being said, man-icures have brought a whole new world of opportunities. Men are feeling more secure than ever and expressing themselves one color at a time.

Courtesy of POPSUGAR and Business Insider

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David Ruff Photos by David Ruff

How we present ourselves in the world is a big part of who we are without having to vocalize anything; it’s a form of expression. With the pandemic forcing us to stay at home and surrender ourselves to a ‘comfy’ outfit, the excitement of dressing up and fulfilling our morning routine was lost.

Emerging out of our Zoom boxes and returning to campus has been a transition for us all. Heading back to campus has forced us to re-establish this routine and invest more time in what we want to wear and how we feel. When asked about her morning routine post-Covid, Gaby Parra, a third-year student, says, “every opportunity I have to leave my apartment, I take the time to get ready every day. Since quarantine I’ve realized how much I appreciate having a routine before I go somewhere.” But just because we have our morning routine back doesn’t mean people are getting out of their comfy clothes. Additionally, School of International Business third year student Andrea Sanchez mentions how she joined classes in pajamas and her wardrobe hadn’t been used in months. Many others did the same and have continued to wear this look out in the world setting a new fashion trend.

Loungewear has created a new style among students on campus where they have been able to mix a comfortable yet stylish outfit, express themselves in the classroom, and have the ability to reconnect with people that surround them. Brands were forced to produce comfortable, practical and casual tailored pieces to satisfy demands during the pandemic, and rapidly adapt to new fashion trends. Kim Kardashian introduced loungewear clothing into her SKIMS brand and magazine Rihannazine featured model Gigi Hadid in her loungewear line. Ritu Kamar, an Indian fashion designer decided to introduce a loungewear line ‘Label Basics’ last year, offering a variety of breezy and comfortable clothing as loungewear makes its mark in the fashion industry. She claims, “fashion has always been a mirror for society’s mood, aspirations and in this case, the pandemic. Loungewear offers easy-to-wear styles made to look like you have made just enough effort for a Zoom call or to run a few essential errands.” Due to the fact that working from home has become the new norm, loungewear and comfortable clothes are anticipated to rise between 2020 and 2026. Countries such as China are already experiencing this change as shoppers started swapping party clothes for loungewear. This shift in consumer needs begs the question, Is loungewear here to stay?

Signs are pointing towards yes, as versatility and freedom have become the future of the fashion industry in the rising trend of androgenous clothing. Because loungewear is often genderless, these trends have fused. Many luxury brands and retailers are starting to incorporate more gender-inclusive garments due to this shift. Brands such as Girlfriend Collective have also made an impact during the pandemic year with its sustainable loungewear sets made from recycled bottles and neutral cuts offered to any gender. Wearing these ‘comfy clothes’ outside can actually benefit the environment as they are free of harmful toxins and produce less waste. Additionally, as brands create genderless lines, they are also cutting costs by not having to create two separate gendered versions of one line. All things considered, this loungewear trend seems like it is here to stay. With the pandemic we contemplate and celebrate these new fashion tendencies and expressions.

Fashion should be voiced without inhibition and it changes all the time. We’re going places, and the future sure looks fun.

Courtesy of Allied Market Research

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“This shift in consumer needs begs the question, Is loungewear here to stay?”

W

PL

Photo by Polina Tankilevitch

WE’RE GOING

LACES

By Eva Bizzarri

The

HAND-PAINTED Olivia Tirmonia Photo by David Ruff

Jacket

Zeniya Cooley Photos by Roi Hayashi

Streetwear’s Most Stylish and Storied Item

By Zeniya Cooley Step out onto the bustling streets of D.C. and you may discover a woman expressing her nostalgia in the form of anime-adorned outerwear or a student carrying cartoon art on his back. Hand-painted jackets, known for such vibrant designs, are gorgeously personalized pieces created by artists and delivered to customers seeking highly individualized styles. The item has revitalized streetwear scenes across the world and encouraged people to proudly wear their interests on their sleeves.

Though this fashion phenomenon appears to be an underreported topic in the glossies, the ubiquity and impact of this item cannot be disputed. For example, @liliyakosmos.art—a Russian artist who decorates denim jackets with Van Gogh masterpieces and other commissioned paintings—boasts nearly 14,000 followers on Instagram. Meanwhile, searching “hand-painted jacket” on Etsy yields over 10,000 listings. Merchants ranging from luxury retailer Net-A-Porter to global marketplace Wolf & Badger also include custom jackets among their products. page 102

Javier Orellana Photo by Roi Hayashi

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Painted jackets have a rich history, dating back to the mid-20th century. According to a blog post published by Lauren Hirth, a student at Mount Holyoke College, A m e r i c a n p i l o t s i n t ro d u c e d p a i n t e d bomber backpieces during World War II. These pilots customized their jackets with cartoons and other designs to assert individuality.

To creators and wearers alike, the jacket transcends mere statement style. In a 2020 interview with Vogue magazine, Gamilaraay artist Regina Jones said she designs jackets to honor her cultural heritage and decolonize Indigenous history. Her custom art, she said, is about “starting a conversation” and highlighting important aspects of Indigenous life.

The hand-painted jacket flourished in yet another wartime context when activists wore them during the Vietnam War. This time, protesters embellished their jackets with political statements and pacifist imagery. Later, graffiti crews from the 1970s and 1980s hip hop scene brought their own styles to the painted backpiece.

For instance, street artists elevated their jean jackets with distinctive lettering and acrylic paint.

As the secondhand market balloons to a multi-billion dollar industry and exciting platforms like The Custom Movement emerge to support independent artists, painted jackets are all but certain to rise in popularity. The only questions that remain are how the item will respond to our politically and environmentally fraught times and how it will be remembered in this context. Perhaps, the piece will be prized for sparking joy during a pandemic or preserved for its socially resonant slogans.

Whatever the case, the jacket will live long after the paint dries.

Given its past of affirming individuality and muralizing political expression, it is unsurprising that the item has found favor with younger generations. Adopters of the Courtsey of Vogue, ThredUp, Wix and painted jacket include members of Gen Issuu Z, a demographic known for their unique fashion and unapologetic activism. This group is also more racially and ethnically diverse than previous cohorts, which aligns with the eclectic history of the painted garment.

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Alex Marootian Photo by Roi Hayashi

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