Gray Area Mag: Fall 2023

You Were the Blueprint

By Alison Custer and Sophie Poissant Bootcut jeans, ballet flats, long skirts, and bobs. While looking back on childhood photos, you may look at your old outfits and think, “I’d wear that now”. Most college students, now well into their twenties, are experiencing the rebirth of their childhood aesthetics. Beyond being envious of your perfect toddler denim, many of us now find ourselves scouring the thrift for early 2000s pieces. It’s natural to wonder: why is this happening now, and why hadn’t I noticed this before? The answer lies within trend cycles: fashion often follows a

Chunky Jewelry, Beaded Bracelets, and Glitter: In the past few years, we’ve seen an uptick in the popularity of chunky jewelry (specifically necklaces and earrings) fashioned out of colorful, mismatched, and homemade beads—it should almost look like a child curated it, so the funkier, the better. Similarly, the iconic letter-beaded friendship bracelets that we would make in elementary school are now back in full swing as well, seen on and off the runway.

“20-year-rule”, meaning trends cycle every two decades. However, this doesn’t mean that once a cycle occurs for a second time the trend dies off completely.

Layering, Patterns, and Maximalism: Aspects of maximalism and unintentionally tasteful layering are present in these old photos, too. Similar to the curated maximialist outfits of today, our younger selves sported clashing textures and patterns: stripes and paisley, paired with graphics of butterflies and peace signs.

Hairstyles, Hats, and More: Although it’s easy to make fun of the bobs, bowl cuts, and messy hairstyles we had as children, at the same time, they sort of worked. Bobs and bangs are now being appreciated and embraced, regardless of how choppy they can sometimes turn out. People are seeking out butterfly clips, barrettes, and more recently, tying hair ribbons. I’m reminded of my father’s Red Sox hat I would wear as a toddler each time I see someone using something as basic as a baseball hat to spruce up or otherwise define an outfit.

Today, the chunky knits and dad sneakers of the 1980s and 90s can be seen on the runway and in department stores alike; this trend is experiencing its second cycle following its decrease in popularity before the new millenium. This same principle can be used to explain why we cringe when looking back on the means in which we expressed ourselves in middle school—side parts and off-the-shoulder tops have yet to reach their 20 year mark, and while we may currently detest these trends, by the 2040s, they’re likely to resurface—that is, if the twenty-year rule endures. No matter how old you are or how stylish you are perceived to be, if you look back at yourself every twenty years, you’ll be surprised to find that maybe you were the blueprint all along.

Authentically New London: Interview with Co-Founders of The Annex, Cristin Rivera and Krista Stanowicz

two of the store’s co-owners and contributing artists who gave us an exclusive look into New London’s evolving art scene from the perspective of both artists and business owners.

Skylar & Anya: So, you’re both artists here?

KS: Yes! I do the Wormo stuff.

We’re so excited! So, Krista, you made the Wormo murals in New London?

KS: Yup! I did one on Union Street and one down on Bank Street at Hot Rod. I’m still working on one down at the Yetter Road Tree Farm (Mystic) that’s not so much Wormo, more so just art stuff.

Amazing. And Cristin, what do you make?

Aptly described as an “authentic version of Urban Outfitters”, The Annex is a unique and trendy store located in downtown New London. Its wide range of art, apparel, and more reflects the eclectic nature of New London itself with different artistic styles coexisting effortlessly. The Annex takes pride in the origins of New

CR: I’m a designer, so I make clothing and some prints too.

I do screen printing and t-shirt printing, and then I also cut and sew my own original designs

London by continuing its legacy as a hub

Why did you choose

and marketplace for local artists. For this

to open the store in

interview, we had the pleasure of speaking

New London in

with Krista Stanowicz and Cristin Rivera,

particular?

CR: We’ve been a part of New London’s art community for almost 20 years, and honestly, once we started our store with five of us, people just came to us. It was just this magnetic force. We do have an actual application on the website for artists; we want to make it as attainable and inclusive as it can be.

Where are most of your artists from?

CR: I would say mostly southeastern Connecticut. We also have friends from Maine, Massachusetts, New York, and Oregon with works on display here, but it’s all people that we know.

So, you’ve both been in New London for a long time. How have you seen the city KS: (laughs) Well, during the pandemic, we had a lot of time to decide.

CR: Yeah, we opened in 2021, but it’s always been a home base for artists in this area. I started getting into the art scene around 2004 or 2005, and Krista has been in New London for the last decade. It seems that in southeastern Connecticut, if you want to be an artist, you’re drawn to New London. It’s accepting and it’s gritty; that’s the vibes.

How do you find the artists that you feature?

change over the years?

CR: Honestly, over the past 20 years, it’s been this rollercoaster of ups and downs of “Oh, it’s thriving”, and “Oh, it’s not”, you know? But in the last three years, it feels like more of a solid situation. Honestly, I do think that with Conn students getting more involved and residents getting more exposure to the college kids is a big catalyst for this change. There’s also a lot of extra funding in general from COVID, and New London is a great place to invest in.

How would you define the style of the

it was purgatory, but what’s great is that

store? Are there any guiding themes with

it seems to be deviating from that. It’s

the work you present here?

becoming more of the place where people

KS: Definitely local. It’s artists trying to support each other. It’s a support system.

CR: Eclectic. We definitely have a casual street comfort vibe, but at the same time we also have a level of witchy-bohemian elegance. I hate to say it, but I feel like we’re an authentic version of Urban Outfitters.

Definitely, that’s a great way to describe it.

can settle and there’s tons of people that move here! I always ask, “How did you get here? Where did you come from?”, and the answers are really all over the place, which I feel is authentic to a true city.

It’s not just a college town; it has a really good mix.

What does your perfect day downtown look like?

What would you say are the most popular

KS: Some good weather and some good

products that you sell?

food. That would be the most ideal.

KS: Anything New London, and crystals do really well.

CR: Yeah, definitely anything New London, and honestly, once an artist is here for a few months, people start coming and looking for their stuff.

On that note, how would you describe New London’s identity?

KS: It’s like a melting pot where a lot of locals and others who have just found their way here make their home and come together.

CR: Historic, gritty, and authentic.

People get mad, but I used to always say

CR: There’s a lot of good restaurants

around here. The Food Stroll was a couple of weeks ago; it seems there’s always some excuse to close the streets down, like little markets and events. Personally, I feel like that’s the fun part. Live music and ending at one of the bars would be perfect for me.

There’s always bands and DJs playing, so it’s not hard to find.

There was a DJ here during the food stroll!

CR: Yeah! That was Frank, who created The Famous New London brand. He’s one of our co-founders, along with the two of us, my husband Denny (who makes art and murals under the name Klashwon), and Frank. He’s kind of the reason we got back together during the pandemic, too: he wanted to do a pop up, and now here we are!

Do you have any upcoming events you

treating yourself or for gift-giving.

want to shout out?

You can visit The Annex at 140 State St. in New

CR: The Native Made Winter Pop-Up

London, Thursday through Saturday, from 12 to

Market! We’ll have over 15 local and Indigenous artists selling their creations, so you can holiday shop while supporting their communities.

KS: That’s in addition to the 30 artists we display already! It’s also based on affordable gifting, so everything is handmade and affordable, whether

7pm, or on Sundays from 12 to 5pm.

By Skylar Gould and Anya Woitek Photographs by Hazel Johnstone

The difference between how people live

and conversation at your meals, and appre-

their lives in the United States versus other

ciating the visual stimulation that surrounds

countries around the world isn’t as com-

you. Becoming a part of this community, a

plicated as you might think. The truth is

place that is entirely new to me, has with-

we, as Americans, do everything for the

out a doubt been an adjustment, but I was

sake of efficiency, but what happens when

quick to realize it was a positive one.

you stop taking beauty for granted and live your days for the sake of enjoyment?

I start each morning with an espresso and

Living in Agia Paraskevi, a neighborhood

drink every sip because there’s no rush. I

within the greater city of Athens, Greece, I

carefully pick out my outfit each day, know-

have learned what it means to live slowly.

ing that people in my classes will take a moment to talk about and appreciate each

What do I mean by this? I mean… imagine

others’ stylistic choices. I talk to the wait-

walking at just a bit of a slower pace, start-

ress for ten minutes at lunch, because she

ing your day a mere hour later, taking some

always wants to hear about what I’ve been

extra time to enjoy each and every bite

up to and how my friends are doing. There

is just another level of care that is put into

I have found that the personal connections

knowing each other here and appreciating

that make life here so much more nourish-

the work that people do for each other.

ing and meaningful successfully infiltrate all consumerist encounters here as well. When

you decide to go shopping and walk into a clothing store, it is not uncommon for the person working to be the owner and for them to immediately start helping you pick out handmade garments of clothing and telling you all about how they are made. They will always make sure you find the right fit and take no shortcuts in service. The amount of joy that I get from having interactions of this nature is irreplaceable and I have learned so much about the power of slowing down.

By: Haley Lowenthal

How Musicians Use Style to Further Their Musical Identity

By Olivia Siegel When many think of our most beloved musical icons, a concrete image of them usually comes to mind: Elton John and his big, colorful glasses; Prince and his bright purple suit; and Lady Gaga, with a dress made out of raw beef, and so many other outrageous and unique fashion statements. Musicians make an impact on our brain and our lives. Perhaps it’s their sound, their lyrical genius, or just their overall talent, but many utilize fashion to sustain a lasting impression and brand themselves as their own, unique entities, and thus, fashion-forward musical beings.

These formed aesthetics are not necessarily curated randomly. To make a true impact, the artists’ fashion needs to be reflective and representative of their being. David Bowie’s eccentric lightning bolt makeup and pirate costumes are not just for fun; they represent his style as a glam rock icon, and even after his passing in 2016, he continues to inspire fashion trends. Stevie Nicks’ ethereal and bohemian fashion has deep ties to her music, which features ever present references to

magic and witchcraft. Much like Fleetwood

fashion choices transfer to the fanbase as

Mac’s hit song about a mystical Welsh

well. At a Grateful Dead show, for exam-

witch, “Rhiannon”, the band’s frontwom-

ple, everyone in sight can be seen wearing

an is known for her “witchy” persona as a

tie dye or hippie-style clothing, or as we

recognizable and distinct fashion figure.

saw at Taylor Swift’s Eras Tour, Swift has

Creating these personas, howev-

branded herself through her individual

er, has more benefits than just innovative

eras, and fans at each show were seen

creative expression. By creating a character

dressed as different periods of her career.

through their fashion, certain musicians

This creates an opportunity for fans to

gain the power of branding themselves, as

connect not just with the artist, but with

well as a way to achieve immortality: gain-

their community of fans as well, creating

ing enough popularity and status to have

a connectable and enjoyable fanbase that

someone immediately associate a certain

enhances musical experiences.

article of clothing with you and your brand

Musicians and their fashion identi-

is no small feat, and furthermore enhances

ties are intrinsically linked, and each work

one’s career and notability. After all, Ste-

together to merge the artistic worlds of

vie Nicks wouldn’t have been able to sell

both music and fashion to create an in-

a Barbie of herself in 2023 if she wasn’t

terdisciplinary and collaborative art force.

instantly recognizable for her fashion.

Establishing oneself as a fashion icon and

These associations and fashion

creating a unique style allows musicians

movements have greater implications,

to express themselves and their music in

however. There are many artists whose

different and artistic ways.

An Athlete’s Fashion Identity: Helped or Harmed by Sport?

*

As an athlete, one must be conscious of their actions and appearance: being on a team comes with the responsibility of exhibiting the values the team aims to present. But how does this constant “role model” expectation form individual expression? Specifically, how does wearing a uniform affect the development of an individual’s sense of style and fashion?

Written and Photographed by Kate Edison

Jamie Scarpantonio, a senior on Conn’s varsity women’s soccer team, has been playing soccer since she was three years old, and has felt the effects of being in uniform for such a large part of her life. Scarpantonio describes her style growing up as “tomboy”, and until she was a bit older and became more influenced by what she considers a more “girly” style, she prioritized wearing comfier and slightly more athletic clothing while moving from one class to another, then one practice to another. Since beginning college, Scarpantonio has been guided by her sister—who works at Gucci—to incorporate more statement pieces into her wardrobe. However, soccer still hinders such additions. When on the field, Scarpantonio wears headbands and/or pre wrap, which she’ll never be found wearing when not in uniform. Off the field, however, Jamie also sports many rings, necklaces, and other jewelry pieces, but due to regulations and practicality, these accessories never cross paths with her soccer jersey.

Maximo Gulla, a sophomore on Conn’s varsity men’s tennis team, has curated a closet heavily swayed by the fashion choices of a few tennis icons, including Roger Federer and Björn Borg. Having played tennis for about 6 years now, Gulla matches his teammates on the courts with a white striped shirt, navy blue shorts (with a camel’s head on the leg), a wrist-sweatband, and his own tennis sneakers. Within Gulla’s style, there’s no denying that his frequent donning of zip-up jackets, tennis shoes, hats, and athletic wear off the courts has been influenced by the prominence of tennis in his everyday life. When asked how his uniform creates a team identity, Gulla expresses, “When I wear a uniform, I think it reminds me that I’m a part of a program and that no individual person is bigger than that program and that process. That’s one of the most important parts of being on a team; we’re all expressing our individuality on the court, but there’s something much bigger than [us] that we’re contributing to.” In this philosophy, the team acts as a unit, and that unit showcases their presence through their uniform.

Ty Dorow and Kathal Heating, two first-years on the varsity men’s track team, shared similar sentiments regarding the coherence of the team once the uniform is out. Heating remarked, “As soon as you put on the jersey, you lock in, you’re a part of the team now, you’re a cog in the machine…at the end of the day, our uniforms bring us together”. Heating also outlined how this association isn’t necessarily a bad thing; it places a higher sense of responsibility on an individual and reminds them why they’re doing what they’re doing. This responsibility sometimes hinders the ability to express oneself fashion-wise, interpolating athletic and personal attributes of one’s sense of style. Dorow and Heating described their individual styles as similar to each other, both pulling inspiration from thrifted pieces, baggier clothing, as well as 80s-2000s style. Their vintage-centered wardrobes, however, didn’t come to fruition until later in high school and into the start of their collegiate careers, deviating from the social need to “fit-in” with the more athletic styles of their high school teammates and peers.

With efforts from Scarpantonio, Gulla, Dorow, and Heating, they have managed to express their individual style both at and away from their sports: taping one’s ring while in a soccer uniform; the peeking through of a chain from a track singlet; or the intentional color choice of a pair of tennis shoes. Altogether, their individual styles have nonetheless been influenced by the interpersonal expectations that come with wearing a uniform, as well as the unity that these uniforms afford a team. While style is curated by the individual, sports that require uniforms produce athletes with styles swayed by their years in said uniform.

Now, it is easy to determine that athletics have an immeasurable impact, whether visibly or mentally, in clothing choices and style. While shedding light on the challenges that they face when it comes to clothing individuality and expression, these four athletes show us the general timeline that is frequently followed in discovering their true style.

college, this delay in style curation a result of the aforementioned demands and obstacles presented by athletics. Similar to Heating and Dorow’s athletic fashion during their high school years, the controlling “athleisure” and “athletic” style trends dominated their decisions during their formative styling years.

Instead of Scarpantonio choosing to wear her Gucci belt, she may have chosen some sweatpants to get comfortable before an after-school practice. This choice may have presented

Their triumphant efforts to produce such individualized styles didn’t come without challenges. One common aspect of these athletes’ styles is that they weren’t established until their later high school years. Each individual found their favorite pieces and styles right before coming to

some inner conflict to choose practicality over self-expression, thus creating a dissonance between one’s true style and the clothing choices they make, a perpetuation of the struggle to express individuality and style amongst athletes.

C

o

orting

mf Disturbances

Sophia Rey and Stevie Thomsen

In 1997, academic and activist Cesar A. Cruz expressed, “Art is meant to comfort the disturbed and disturb the comfortable”. As a cultural movement, surrealist art has sent shockwaves of distaste and discomfort not only through the contemporary art world, but society as a whole. Resulting in a general rejection and lack of popularity, surrealism has become something seen in the art world as risky, carrying stigma and baggage.

Why does this style of art make people feel the way it does? Its negative reactions are influenced by the genre’s experimental aspect. Overdramatization and the transcending of all boundaries put in place by contemporary society is paramount in true surrealist art. The rejection of this style has kept a lot of artists in the dark; while some think of figureheads such as Salvador Dalí, Max Ernst, or René Magritte, most strike a blank.

Today, surrealism exists in so many facets of our lives, an especially prolific display taking place within the LGBTQ+ community. Many LGBTQ+ artists have taken aspects of surrealism in the art world and are using them to develop a queer identity into a cultural movement.

As part of normalizing surrealism as

Through the popularization of “camp”

a cultural movement, it’s important to

and drag culture, however,

bring attention to modern-day artists

flamboyance, queerness, and

and influencers who, through their own

individuality can all prosper in a unique

artistic expression, are proponents of the

and necessary setting: fashion.

new surrealist movement. Dylan Mulvaney—a popular trans influencer who recently detailed her gender transition online—and Hunter Shafer— a trans actress and model, starring as Jules in HBO’S Euphoria—are exemplary figures in the entertainment and media industries who utilize surrealist fashion to showcase their identity and style. The connection between modern surrealist fashion and LGBTQ+ icons is no coincidence. For many queer people, defying societal standards and transcending boundaries is part of taking back power and self-definition. Drag culture, for instance, is all about overexaggerated features and a surreal sense of identity that transcends the traditional binary. Historically, and most recently in the media, drag has caused adverse political reactions nationwide.

Part of surrealism’s allure is the fact that

as well as French-Italian fashion house

experimental fashion design is meant to

Schiaparelli’s striking experimentation in

cause discomfort. Surrealism is an uncon-

redefining haute couture, something best

ventional style aimed at altering the human

described as a modern iconoclasm. In the

experience to something that goes beyond

last five years, editorial fashion has popu-

the natural world as we know it. Thus, pop-

larized surrealist fashion, often toying with

ularity in art and fashion allows creatives

experimental shapes, adverse materials,

to pursue an entirely new approach to

processes, etc. The 2019 Met Gala saw

representation in media. Labels that have

those in the limelight dressed in intention-

reached the mainstream media include

ally ‘over-the-top’ attire, adhering to the

designers like Iris van Herpen, who often

theme of Camp. “Camp” is an exagger-

plays with optical illusions in her works,

ated aesthetic aimed to push the limits

on what we consider to be artistic beauty, and is a contemporary movement encapsulated by surrealism. The theme received mixed reviews, because not only did the general public have a hard time accepting this style of dress, but it constituted massive debate over what is and isn’t considered “camp”. Surrealism begs questions like these, and forces the viewer to experience art in a unique way that they haven’t before.

The art of breaking boundaries raises a fascinating question: how do we define a boxless box? If surrealism is about transcending laws of art and fashion, how do we define what is and isn’t surrealist?

For many, the power lies in going places no one has before. Surrealist art and fashion will forever be defined by those who take risks, those who are pioneers, and those who persevere, even when told that their art is ‘strange’.

An African Renaissance,

Catalogued

by Sarina Shah

From June 23 to October 22 of this

aims to capture and convey. Fashion in

year, New York’s Brooklyn Museum housed

Africa has and will continue to be filled

the Africa Fashion exhibit, an exceptional

with expressive and creative ideas, fueled

showcase of over 180 works representing

by community, history, and so many more

more than 40 designers and artists from 20

powerful forces that allow African fashion

different African countries. The exhibit cel-

from all eras to transcend time.

ebrates the remarkable creativity and global significance of African fashion, spanning from the 1950s to the present day while paying tribute to deep-rooted traditions and centuries old craftsmanship seen in the clothing of African communities.

The second half of the twentieth century plays a crucial part in the exhibit.

In 1960, 17 African countries became free, and by the end of the decade, nearly 50 nations had gained independence. The exhibit, which is based on the history of independent African movements, embarks on a journey surrounding decolonization and the claiming of freedom and power. Street photography by artists like Sarah Waiswa and Trevor Stuurman are also on display, which focus on what African people have worn in their everyday lives throughout the last 70 years.

The displayed pieces are beautifully crafted, with bright colors, patterns, and textures, highlighting the vibrant African communities that the Brooklyn Museum

The Origins of Preppyness Written by Gemma Savitz-Vogel

There is an insidious power that lies within preppy clothing. At one point, and maybe still today, dressing ‘preppy’ was seen as an immense symbol of wealth. Preppy clothing is, to some degree, undetachable from whiteness in a way that is unfortunate. The white nationalists who used tiki torches to set ablaze a Charlottesville, VA march in 2017 sported white polo shirts and boat shoes. While this could have been their style, there is an underlying thought that this clothing choice was a deliberate decision made to look more approachable and presentable, while in reality, they were spewing white supremacist rhetoric.

The preppy movement began in the United States, with the birth of the store Brooks Brothers in 1818. As the world recovered from the American Revolution, Britain decided to pull a little prank on the United States by sending tons of scrap and/or unused fabric to a shipping port in New York City. At this time, shopping as we know it today didn’t exist. If you were wealthy enough, you went shopping for fabric and then you would sew it yourself, or, most times, pay someone else to sew it for you.

Alternatively, you could buy second hand clothing, which was often ill fitting. People aspired to buy fabric and have it tailored.

Henry Brooks, the founder of Brooks Brothers, noticed all of this fabric piled up in downtown New York, so he and some other merchants decided they would try and make pre-made clothing. Ready-towear clothes. This is a landmark moment for mass production and the commodification of labor. By the 1840s, almost everyone in America was dressing well. People who never thought they could own a suit were able to buy a ready-made suit, regardless of their occupation or social class.

This subsequently created a lot of ‘anxiety class’ in New York: everyone was wearing the same clothing, and the differences in clothing had always made it easy to distinguish one socioeconomic class from another. Stores like Brooks Brothers and their contemporaries made the modern day shopping experience what it is. It was the first time people were shopping for entertainment and practicality: you could walk into a store and walk out with something you could wear right there and then.

During this time, this style was called “Ivy”.

The aesthetic came from Princeton, with the male students wearing their sports

clothes all the time (much like the athletes

cert tour in Europe. In turn, he became a

here at Conn). Princeton students frequent-

sort of accidental ambassador of this look,

ly wore rugby clothing, and these clothes

and Europe adopted a lot of preppy and

included shirts manufactured by Brooks

Black Ivy clothing styles.

Brothers. As more people started to have access to higher education, this clothing

Within this fashion revolution, a new style

aesthetic expanded with the popularity

was born—called Peacock. It featured very

of college. When Veterans started com-

outlandish clothing, and is referred to as

ing to college, they brought their military

the beginning of what we now know as

surplus clothing with them, also known

“retro” clothing, as this style borrowed

as khakis. All the other students followed

from Victorian and other historic styles

suit, deciding they should add khakis to

and eras. As the fashion snowball grew

their wardrobes. At women’s colleges, it was

bigger, consumers became frustrated with

acceptable to dress somewhat androgy-

the constant turnover of trends and con-

nous because they were dressing within

fusing styles. The easiest return was to go

the preppy aesthetic regardless. A lot of

back to preppy clothing. This style was

the time with trend proliferation, once a

revived most notably by none other than

group outside of the original ‘trend start-

Ralph Lauren, who quickly reintroduced the

ers’ adopts a trend, the original group

Polo shirt into mainstream American style.

drops the trend entirely because it is no

The original Polo shirt was made by René

longer ‘just theirs’. This didn’t happen with

Lacoste, a vastly successful tennis player

the preppy aesthetic, however, which is

nicknamed “the Crocodile”. At this time,

thought to be a major catalyst in the move-

tennis was played in non-breathable, long-

ment’s long-term success.

sleeved button downs. Lacoste introduced an innovative short-sleeved knit sports

Throughout the 1940s and 1950s, the look

shirt called the tennis shirt, renamed the

was essentially everywhere, experiencing

“Polo” in 1972 by American designer Ralph

a sort of snowball effect. There was a new

Lauren.

wave of the look called ‘Black Ivy’, largely popularized by Black activists and musi-

In the 1980s, large companies and de-

cians. Myles Davis, for example, wore a lot

signers had to conform to what the public

of Black Ivy style clothing when on a con-

wanted for the first time ever. This started

a world of competing trends that led to many companies making lackluster clothes in order to guarantee profit, and in order to do that, you had to play it safe—enter preppy style. Into the 1990’s, however, preppy forked off into two distinct directions: business casual and street style. This new street style came from a rival of Ralph Lauren who started making waves, Tommy Hilfiger.

During this time, younger kids would steal clothes from boutiques in Manhattan in order to develop a new style. They started piecing clothes together in a very new way, thus beginning the street style movement, pairing something expensive with cheaper clothing. Tommy Hilfiger saw this and embraced the style, while also embracing hip hop artists before many others in the fashion world. In 1994, Snoop Dogg performed on SNL wearing a Tommy Hilfiger logo tee, catapulting Tommy Hilfiger into a life of success and creativity.

The preppy look was manufactured originally in New York by predominantly Jewish clothing designers, but has been perfected and tinkered with over the years by the Black community, as well as Japanese companies like Uniqlo. While it is a widely accessible look, preppy clothing is the clos-

est you can come to being non-descript.

Preppiness was also the force behind the death of the suit; the preppy boys on the Princeton campus wore this preppy clothing to avoid wearing suits. You don’t really hear people describe their styles as preppy anymore, and that’s because that look is no longer a look, it’s just the look of general clothing. The aesthetic is so ubiquitous that we don’t even need to name the term. It comes back in style over and over again that every generation has grown up with some version of “preppy clothing.”

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