Platform Magazine

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FA L L 2 0 1 9 volume VI

MODEL Maggie Kimmett PHOTOGRAPHY Kori Hyer STYLING Morgan Snow


MODEL Mayla Ngo PHOTOGRAPHY Kori Hyer STYLING Lily O’Brien DESIGN Lily O’Brien

LETTER from the


oes the world need another magazine? We all know the industry leaders in media, fashion, and culture. While rebranding and redirecting the magazine this year in my first issue as editor-in-chief, it was important to constantly ask myself, “What are we offering?” By being a small magazine in a small community, we’re able to focus on our reader, not just glorifying industries and corporations. We aren’t just here to show pretty models in pretty clothing, we’re here to be storytellers and change makers. “Fashion” in many ways is escapist, being that it is often entertaining and even distracting. Creating and celebrating beautiful, artistic things can be a wonderful escape from unpleasant realities, but we can’t deny the way fashion reflects current culture. Platform Magazine loves to create beautiful things and celebrate artistic endeavors. We balance this with reflections on our culture, on our personal lives, and not always telling easy stories. We don’t want to be a glorified catalog, we want to be a platform for the voices of our team, of our school, and of our community. We want our members to feel confident in roles that originally made them uncomfortable, and we want our readers to learn something valuable and walk away remembering to be a little more mindful. In this issue we discuss various topics such as sustainability issues in the industry, personal identities, local events and personalities, and misfortunes facing our local and global community. Our team also exhibits incredible styling and photography efforts in our impressive photo shoots. I’m so grateful to be able to create with such dedicated and passionate people. It’s rare to find a group like this. They have exceeded expectations and performed amazingly under pressure and time constraints. I hope when they read this they know how much I appreciate them and how proud they should be of themselves. It has been so exciting following in the footsteps of our previous editors, Megan Singleton and Jasmine Mason. They were incredible creative leaders and helped me reach and surpass all the goals for which I hoped. To our reader, I hope you find entertainment and inspiration in every page.

Hannah Williams Editor-In-Chief

HANNAH WILLIAMS ISABELLE PRINGLE SAMIA USMANI MACKENZIE PIERCE LILY O'BRIEN KORI HYER Modeling Director ARIANA FERREIRA Illustrations Lead NGOC NGUYEN Social Media Director ANASTASIA SHYMONYAK Editor-in-Chief Editorial Director Creative Director Lead Stylist Lead Photographers




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PLATFORM by Hannah Williams


e all know the media is in need of help. A study concluded that over 95% of Americans are troubled by the current state of the media. Journalism has lost the trust of its readers by focusing on “gotcha� journalism, extremely partisan pieces, and publishing dishonest work. Readers believe that journalism has begun to create division, instill fear, and fester hate. With the state of technology, reporters can twist events into unrecognizable stories in real-time and circulate certain stories more than others to create an advantageous reaction. Many feel hopeless about the direction of media. It is important to ask, what do we have now that we did not have before? And how can that help us? The current state of media allows for increased involvement of readers and the audience. Paul Bradshaw, a British journalist, describes it as a shift from a lecture to a conversation. In a world where only recently did marginalized populations have a voice, it is increasingly important for journalism to be in conversation format to allow for diverse voices. We have the ability to make hyper-focused stories that reach a large audience. We have the ability to create possibility-oriented journalism. There is so much uncertainty today. Platform strives for transparency, discusses possibility, and thinks about the world in the way we want to see it. College can be a stressful environment for young people-- being forced to navigate the world while they navigate their own development, all the while having to figure out exactly where they fit. Our team wants to create a publication that helps students feel accomplished, allow for emotional releases, and provide stress relief. Involvement in the arts is backed by research to improve health and test scores. Beyond that, the arts allow people to express themselves and see themselves within it. The way we empower people is not only through writing, but photography and other art forms. Beyond navigating the way journalism, photography, fashion, and art are developing, we celebrate having fun. We do not think finding pleasure in life is a waste of time; we see it as the point of living. Creating and consuming art gives life value and encourages reflection on our purpose in life. There is no denying the current climate of our


world is full of stress, fear, and division. Political divisiveness, violence, climate change, prejudices, and countless other issues burden citizens daily. While being an agent for change is crucial, do not forget to reflect on the little things that make you feel joyful, encouraged, and inspired. Don’t forget to have fun.

are you actually

eco friendly? by Lor Caudillo



he environment’s well-being consistently ranks low on most people’s list of worries. We live in a fastpaced country that promotes workaholic tendencies. We try to be productive at all times, and most people do not step back and examine the environmental impact of their lifestyles. If the earth is really on fire, we should make better choices—the only question is, how? Consuming products at the rate we are used to is certainly not the answer, but a corporate strategy known as greenwashing deceives us into thinking so. Greenwashing is when a brand makes a specious claim of environmental stewardship. If you have ever bought a clothing article with a label that caused you to believe you were helping the environment by purchasing it, you have been a victim of this marketing scheme. The textile system is sad: non-renewable resources are used to produce clothes that are often only used for a short period and are then tossed in landfills or incinerated. 26 billion pounds of clothes are sent to landfills, and 1.2 billion tons of greenhouse gas emissions are released from textile production each year.

ters near you. Try to avoid trends because they lead to overconsumption. Ultimately, purchasing less is the most sustainable route to go. It is less about frantically researching brands at which we plan to shop, and more about changing our mentality. Focus on only buying what you need— maybe a few durable and high-quality pieces that match your true style and last multiple seasons. It is understandably a daunting process becoming an environmentally-friendly consumer. With the ticking climate clock, it can feel like all of our individual decisions have so much weight, but they do not. The reality is that the planet’s resources have already been devastated. Individual lifestyles do not only have to change, everything has to change.

Chances are, if you are shopping at a fast fashion store such as H&M, Zara or ASOS, you are not actually supporting a company that is seriously taking holistic steps towards sustainability. Corporations tweak one or two aspects of their products and market themselves eco-conscious. Brands that are actually committed to sustainability use environmental and societal criteria for creating their products; this means that they are specific and transparent about the production process including information about the people who make their products. Check a company's website, and look for detailed information about their sustainability practices. Ethically-made clothing will cost more; that is why shopping second-hand is a fantastic option and one of the best things we can do for our planet. Shopping at online resell platforms and thrift, consignment, or vintage stores gives us pieces that are cheaper and better quality than what would be at a retail store. Greenwashing is not going to go away, companies have autonomy when it comes to marketing. It is up to us, the consumers, to be smarter about what we buy and be more conscious of what we do with what we buy. Never throw clothes in the trash; instead, donate them, or if they are too worn out lookup textile recycling cen-


by Isabelle Pringle





n today's world, more really is more. More technology on your wrist, in your home, practically everywhere you look. This need for maximalism is a major trend in today's fashion scene. Gucci is possibly the best example of this-- clothes dripping with embellishments, colors merged to reflect a rainbow, and a bounty of accessories for every part of the body. But I, for one, love it. I adore seeing fashion interpreted in a new and original way. It is refreshing and adds doses of inspiration to fashion disciples like myself. Gucci, led by Alessandro Michele, embodies ingenuity and personality in a completely new way. The way Michele can make a ball gown feel feminine while exuding edge is a quality that is necessary for clothing today. What makes Gucci so unique is its emphasis on the individual. Michele does not subscribe to fads or conform to what is popular in society today, yet he makes clothing that speaks to everyone's sense of fantasy, incorporating a touch of whimsy in every look he produces. His clothing helps fans of his concoctions escape the mediocrity of everyday life, rather propelling them to dream about sequins, technicolor shoes, oversized sunglasses, knit sweaters, and so much more. Gucci brings a smile to even the most serious face, and it helps us view fashion from a different perspective. If what you're wearing does not make you smile, should you really be wearing it? You know that rule,“Take one thing off before you leave home in order to not be ‘over-accessorized?’” Well, now it is about time to throw that rule out. The saying, "less is more" is out of style, I have to say. More fun, more frivolity, more humor, more individuality is more of what we all need.




MODEL Leeman Smith PHOTOGRAPHY Kori Hyer STYLING Morgan Snow

MODEL Grace Lincroft PHOTOGRAPHY Rachel Park STYLING Alexandra Neighbour



MODELS Mayla Ngo, Briana Miller & Ally Dabar PHOTOGRAPHY Madi Langley STYLING Jordan Murray, Madi Jenkins & Alexandra Neighbour


MODEL Mayla Ngo PHOTOGRAPHY Madi Langley STYLING Jordan Murray

MODEL Vianté Dile-Basnight PHOTOGRAPHY Eric Matthews STYLING Jon Copes

MODEL Skylar Shuford PHOTOGRAPHY Eric Matthews STYLING Jaymie Googins

MODEL Eric La Rosee PHOTOGRAPHY Hailey Eisen MAKEUP Eric La Rosee


Eri y b

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e’re at a party. I don’t know her.

“I love your makeup!” She says. “Thank you!” I reply, genuinely grinning. I like it, too. “I wish I could do my makeup like that,” she adds. Still smiling, I do my best to silently urge her to let the compliment stand as it is. “I’m so lazy, though. Like, this is the most I ever do.”

I keep smiling, but my heart falls. There’s no good way to explain to her, quickly, why that last clause makes me sad. I’m not lazy when I don’t wear makeup; to get my makeup how I like it takes between 45 and 90 minutes. That is ignoring the hours a week I spend watching tutorials and reviews, and the years I have spent practicing whenever I get bored or lonely because it is my hobby. Why are you considered lazy for not engaging with someone else’s hobby? You’re not even lazy for not spending time on your own hobbies if you do not want to—hobbies are necessarily optional. Otherwise, it’s just unpaid labor. The only people being lazy by not applying makeup are stage performers. However, I’m not naive enough to think makeup is universally, solely about the artistry of its application, as has become a popular assertion among people selling makeup. I really wish it were. Makeup is a half-trillion-dollar industry because as human beings, we care about being valued. Beauty is probably the most widespread and persistent way people have assigned value to themselves and to others, particularly to women. The purchase and use of makeup promises to make you feel beautiful, and by extension valuable. So, when women compliment me and then use it as an opportunity to put themselves down, it sounds like they are admonishing themselves for not making themselves valuable through hours of unpaid labor that they don’t enjoy. This is a heavy initial greeting for a party, but I am aware that my blurting out, “You’re valuable as you are and shouldn’t be expected to spend time on things you don’t enjoy to prove that to others,” as I would want, would seem to be coming from nowhere, so instead, I’ve taken to countering, “Please! Women never wearing makeup at all will always be more rebellious than me wearing a lot.” There’s a lot that I’m trying to summarize here: The mirror image of me, a gay man performing a high degree of femininity because it brings me joy, is not a woman doing so because it is expected of her. A more apt parallel would be that of a lesbian who, taking no pleasure in performing femininity, chooses rebelliously to perform none at all. The short version leaves out that these are strongly tied to LGBTQ experience. To be clear, when I personally wear makeup, it is a gay thing, and it is meant to be an act of personal rebellion. I’m fairly safe wearing makeup because of decades of hard work and sacrifice by the people of the community who came before me, and because I live in a progressive area. However, I still get concerned calls and texts from friends whenever I walk home painted, and I know I still make some people uncomfortable at the parties I attend. So be it. Frankly, I would love to see more of my peers in public looking eccentric for the sake of joy and in doing so expanding people’s definitions of beauty: more men in bright, geometric eyeliner, and more women reclaiming their energy, creativity, and unpainted faces.



e are not even outside for a minute before Allie Plunkett’s collection receives immediate recognition. An older couple stops, oohs, and aahs about the clothes. Allie giggles and graciously thanks the couple for their warm reception to the clothes. Allie, a junior at NC State, is a Fashion & Textile Design major, who just showed her first collection at Greensboro Fashion Week this past fall. Allie grew up in Cincinnati but moved to North Carolina during her time in high school. Her great grandmother was “always doing quilting,” which in turn has affected Allie’s design process, but at first, she had no desire to sew as a child. “I tried to get into sewing several times when I was younger and could not get interested in it. I did not actually start sewing until high school,” she tells me. The moment that piqued Allie’s interest in sewing was when she took a “fashion class” at her high school teaching her the basic techniques of sewing.


Incorporating special techniques has always been a focal point for Allie in her designs. “I have always been really interested in quilting and patchwork,” Allie says. She also says throughout her college career, “style lines” and “stitching lines” have been constants in collections because of her love for “experimenting with surface design.” I ask if this love of embroidery stems from watching her great grandmother quilt as a child, and she nods saying that learning her great grandmother’s quilting skills has definitely, “come in handy.” In other elements of her designs for this collection, she “wanted to create a line that had simple silhouettes but was divided up into sections so that it was in high contrast.” We are discussing her design process when Allie quickly interjects that her Greensboro Fashion Week Collection was her first fully complete collection-- ever. With this news, I am even more eager to learn how she goes about

CH IN TIME by Isabelle Pringle

designing: “I usually start with a mood board and a trend board. I then come up with the color palette, and then I did technical line drawings of the pieces, colored them in, and decided where the colors would go,” she explains. When I ask how she goes about the editing process and deciding which garments to keep or scratch, she admits she tends to start over on every collection she has started, but this Greensboro Fashion Week collection was different. Most of the pieces keep their origins this time around— a process Allie calls “surprising.” She also calls the whole experience of being able to be featured in Greensboro Fashion week “a total confidence boost. I now have a show under my belt and getting to walk the runway after your collection was pretty cool.”

says it would likely be a “dress, possibly, featuring beading or style lines.” Ending with asking what made her want to design, to begin with, she tells me she has always had an interest in art: “I kind of realized that I could take art and put it into clothes instead of actual art pieces, which I thought was cool.” Very cool, indeed.

When I ask about the future of her brand, Allie says she would “like to focus on creating one unique piece at a time and not doing a large scale collection again.” When I prod her with more questions about what this piece will be, she MODELS Julia Drago, Saajana Bhakta & Megan Sinanis PHOTOGRAPHY Sarah Jarrell IILLUSTRATIONS Megan Singleton

MODELS Destini Morton, Dominic Celemen, Briana Miller, Jasmine Nguyen, Grace Dodoo, Laura VĂŠtil & Nathan Kohn PHOTOGRAPHY Malcolm Sales STYLING Charlotte Dabar, Mackenzie Pierce, Alexandra Neighbour & Mara Harris

MODELS Briana Miller, Jasmine Nguyen PHOTOGRAPHY Ngoc Nguyen STYLING Mackenzie Pierce, Alexandra Neighbour



MODELS Jasmine Nguyen, Destini Morton PHOTOGRAPHY Ngoc Nguyen STYLING Charlotte Dabar, Alexandra Neighbour DESIGN Kori Hyer (LEFT)


MODELS Model MAKAYLA Dominic MACK Celemen, Laura Vétil Styling MARA HARRIS PHOTOGRAPHY Ngoc Nguyen Photography STYLING Alexandra NGOC Neighbour, NGUYEN Mara Harris Makeup MORGAN PETERSON


MODELS Nathan Kohn, Laura Vétil PHOTOGRAPHY Lily O’Brien STYLING Alexandra Neighbour, Mara Harris


MODELS Models LEEMAN Briana Miller, SMITH, Laura HARRISON Vétil KAUFMANN Styling MEGAN EARLY PHOTOGRAPHY Malcolm Sales Photography STYLING Mackenzie NANDIPierce, BRYAN Mara Harris Model LEEMAN SMITH Styling MEGAN EARLY Photography NANDI BRYAN



n 1996, Parker Kennedy opened the fabulous Italian restaurant in downtown Raleigh, North Carolina that goes by the name of Caffe Luna. Parker and wife, Nicole, have established a well-known restaurant that has grown from 80 to 200 seats with three party rooms and a terrace. Parker had ties in the Italian restaurant business when he lived in New York, where he worked as a top wine salesman for one of the largest wine distributors in the country. Nicole Kennedy is affiliated with the American Impressionist Society & Women Painters of the Southeast. The restaurant is decorated with original artwork of scenes of Italy, depicting the beautiful landscapes immersing you into a little slice of Italy all while being in Raleigh, NC. Only one mile from the cafe resides Nicole’s Studio & Art Gallery where she exhibits works by local artists.

by Caroline Kotterer

When you first walk into the authentic cafe, it causes you to transcend to another place in time. All you have to do is sit down, order a glass of wine, listen to Frank Sinatra and suddenly you’re sitting on the canals of Venice. Parker and Nicole have managed to create a restaurant that embodies the aura of a terrace overlooking the cobblestone streets of Tuscany. The Kennedy’s adorned Caffe Luna with Nicole’s original Mediterranean impressionist pieces. Nicole had been a passionate artist since her high school days and as a result, worked for the advertising agency, Saatchi & Saatchi, as an art director when she lived in New York. It was not until the pair opened the cafe that Nicole transitioned into creating the art she had always loved to paint. Together as husband and wife, they have created a beautiful and welcoming ambiance for all walks of life. Due to Parker’s 20-year experience in the wine industry, he has a handcrafted selection of various wines. The relaxed Tuscan atmosphere, authentic and affordable menu and their consistency have all contributed to their success. Over the years the menu has changed, but the classic dishes remain to keep customers wanting more. The fried calamari, bruschetta, and farfalle al salmone are all testaments of the delicious offerings Luna provides in a comfortable price range. Aside from the fantastic menu and outstanding wine list, the decor is what makes Caffe Luna stand out. The vaulted ceilings, white tablecloths, salmon-colored walls, and arched doorways transport you to a Mediterranean destination. One of the most interesting policies of Caffe Luna is that they do not have a bar, nor do they serve liquor. Parker says, “The focus is on having a good meal, good conversation, and then moving on to the rest of your evening.” Instilling these core values of an Italian society combined with southern hospitality makes Caffe Luna a truly unique place to gather with friends, family, and lovers. Parker is not interested in expanding to a second location because it would prevent him from being able to keep business running smoothly, "You have to be here for this kind of thing. You have a farm, you don't get another farm.”


a ILLUSTRATIONS Jaymie Googins




by Anne Graf

hroughout history, those cursed with fame have used their time in the spotlight to affect change in the world. One such extraordinary character is Zuzu Angel (Zuleika Angel Jones), a fashion designer from the 1960s and 1970s. Born in the 1920s in the Brazillian state Minas Gerais, Angel gained traction in the fashion world in the 1960s and was praised for her cultural inspiration, tropical motifs, and color choices. Her clothes were harmonious, fun, and pretty. However, everything changed when her son was targeted by the Brazilian government. From the 1960s to the 1980s, Brazil was controlled by an authoritarian military dictatorship, known as the Fifth Brazilian Republic. This ruling force used fear tactics to quell any uprisings and would often employ the oh-so-tactful method of “disappearing” dissenters, which is precisely what happened to Zuzu Angel’s son in 1971. Zuzu received a letter that detailed exactly how he died, in exceedingly gory detail. Naturally, his mother was devastated-- she channeled her anger into activism and spoke out against the military regime. As a fashion designer, she expressed her emotions in her creative pursuits, producing the first, and perhaps the most moving, political protest collection in history. It was a complete 180 from her previous collections; in her prints, the customary tropical birds were now trapped in cages, and the deliberate malice of the military permeated every item. Angel’s collection and her political activism were so influential that the Brazilian military started keeping an eye on her. Angel’s aesthetic remained controversial until her death in 1976. She is believed to have been made to “disappear” by the very same people who killed her son due to her speaking out against them. Angel expressed before her death, “If I appear dead, by accident or by other means, it will have been the work of the assassins of my beloved son.” Zuzu Angel’s life was short and stricken with greater tragedy than most. She employed that tragedy as a fuel-- fuel for her work and fuel towards political change so that no other mothers would have to experience the irreparable heartbreak that comes with one’s child being tortured to death by an unjust state. Instead of giving in to grief, she pioneered the power of fashion to instigate political change, an idea that has cascaded down generations.




or many aspiring fashion designers, showing a collection at a major fashion week is their lifelong dream. For people in the public spotlight; however, sitting in the front row at such a show is the dream. The front row of fashion shows has changed over the years-transitioning from an apt visual vantage point to a publicity stunt. Some celebrities are paid to attend by the designer or their marketing team because if an influential person is in the front row of a show, it reflects well on the brand. Other celebrities vie for the spots themselves; usually, the less well-known individuals covet the prime spots in order to boost their own reputation and are willing to pay for the exposure. Of course, no matter how famous a celebrity is, there are still people who are guaranteed ideal spots. Anna Wintour, editor-in-chief of Vogue, for instance, would never be denied her desired seat. Close friends and family of the designer would also sit in the front because even though publicists determine the seating chart, designers have the final say. All this fuss over the front row raises the question, does it even matter? With live streams, Youtube videos, and photographs, why would you bother leaving your bed to watch the show? For industry professionals, nothing beats seeing the clothes in real life. For celebrities, this is a chance to strengthen their relationship with a designer and promote themselves. But for the general public, perhaps it is not worth paying top dollar to watch a show that can just as easily be found on the internet. On the other hand, going to a fashion show is about the experience in total, rather than simply viewing outfits, and for some fashion enthusiasts, that experience simply cannot be recreated through a screen.


Where to Sit at a Fashion Show: it's middle school all over again

by Anne Graf



going camping

54-year-old essay by American writer Susan Sontag was the inspiration behind this year’s Met Gala theme. The most prominent icons in fashion, film, and music gather for a glamorous night at one of the world’s biggest fashion events in order to raise money for the Metropolitan Museum of Art’s Costume Institute. Lady Gaga, Alessandro Michele, Harry by Emily Arnheiter Styles, and Serena Williams co-chaired with US Vogue editor-in-chief, Anna Wintour, at the 71st anniversary of the Met Gala. The exhibition showcased clothes designed by Christian Dior, Cristobal Balenciaga, Franco Moschino, and Donatella Versace, among other designers. This year’s trends included gold lamé, Alessandro Michele, Harry Styles, and Sersequins, feathers, neon, and oversized sleeves, skirts ena Williams co-chaired with US Vogue ediinfiltrated the fashion world as an “aesthetic style and trains. Celebrities donned these extravagant and sensibility that regards something as appealing and intricate costumes for their walk down the pink because of its bad taste and ironic value.” carpet. The word camp is thought to have been derived from the French term se camper, meaning “to pose in an exaggerated fashion.” When the word first appeared in 1909, it was denoted as “ostentatious,” “exaggerated,” and “effeminate.” Originally, the word pertained to a description of the style choices and behavior of working-class homosexual men. Today, other meanings have been added to its definition. In 1964, Susan Sontag was the first person to write an extensive essay on the subject. In “Notes on ‘Camp’,” she argued that camp was not gender or sexuality specific. Thus, camp became a part of the new, liberal ideals and attitudes toward sexuality and politics. Since then, camp has


54-year-old essay by American writer Susan Sontag was the inspiration behind this year’s Met Gala theme. The most prominent icons in fashion, film, and music gather for a glamorous night at one of the world’s biggest fashion events in order to raise money for the Metropolitan Museum of Art’s Costume Institute. Lady Gaga,

Lady Gaga’s fashion outfits and costumes are fitting examples of camp style. Her interpretation of the Met’s theme included four costume changes lasting for 16 minutes. Gaga’s legendary entrance to the Gala was not the first time she donned outlandish outfits like these. This queen of camp has long been known for her crazy fashion style. Her most daring looks include an iconic meat dress, a Kermit the Frog covered jacket, and an Elizabethan-inspired Alexander McQueen gown. Platform Magazine’s stylists decided to give their own take on camp in a tulle-filled photoshoot. The stylists had a vision--even the most outrageous ideas were integrated into the shoot. Dishwashing gloves, balloons, and cowboy hats culminated in the perfect embodiment of camp style.


MODEL Harrison Kaufmann PHOTOGRAPHY Lily O’Brien STYLING Harrison Kaufmann, Hope Bray ILLUSTRATIONS Angel Hernandez, Megan Singleton

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MODEL Othman Fatfat PHOTOGRAPHY Madi Langley STYLING Lily O'Brien DESIGN Brooke Connolly

MODELS Jasmine Nguyen, Willow Arthur PHOTOGRAPHY Kori Hyer STYLING Mackenzie Pierce, Jordan Murray MAKEUP Willow Arthur HAIR Jordan Murray, Mackenzie Pierce


MODEL Caroline Diaz PHOTOGRAPHY Lily O’Brien STYLING Mackenzie Pierce MAKEUP Mackenzie Pierce DESIGN Brooke Connolly

MODEL Grace Lincroft PHOTOGRAPHY Madi Langley STYLING Bailey Young MAKEUP Alexandra Neighbour DESIGN Brooke Connolly

MODEL Braxton Harvey PHOTOGRAPHY Kori Hyer STYLING Jon Copes

MODELS Braxton Harvey, Destini Morton PHOTOGRAPHY Kori Hyer STYLING Jon Copes


n today’s fashion industry, it is very common for American retailers and manufacturers to source materials and production from overseas, due to its cheap nature and the wide array of factories and manufacturers to choose from. However, sourcing from overseas has its known disadvantages, like lower perceived quality, high shipping costs, and most importantly, compromising the health and safety of its workers. This October alone, the Bangladeshi factories of two major North American companies, Amazon and Lululemon, were exposed for their horrific and inhumane workplace environment. In a Wall Street Journal investigation, it was discovered that multiple other retailers have deemed the Bangladeshi factories too dangerous to source from. Popular retailers, like Walmart, Target, and Gap blacklisted these Bangladeshi factories, because they refused to fix safety problems in their buildings, like weak infrastructure and violated fire codes. So, why does Amazon allow the sourcing from these dangerous factories? According to the Sourcing Journal, Amazon has over millions of sellers in its third-party marketplace, and these sellers do not have to follow Amazon’s code of ethics and business conduct, which prohibits illegal harassment of its workers. During the investigation of the Bangladeshi factories, many buildings without working fire alarms were found. In addition, the common practice of factory managers locking up and keeping their workers behind until they completed their orders was discovered. Some employees were subject to spending 12 hours a day sewing over 300 shirts. The female workers who make Lululemon’s clothing in Bangladeshi factories have claimed to be subjects of physical as well as verbal abuse by their managers. The women have told the company they were called “sluts” and “whores,” and were even beaten by managers. In the United States, Lululemon leggings can cost around $130 to $200. According to ABC News, that sum is a little less than what the average Lululemon factory worker in Bangladesh makes in an entire month. However, the maltreatment of workers is not just exclusive to international factories and manufacturers; some of the most loved stores among college-aged students, like Forever 21, also practice unethical standards with its sourcing. Since 2007, about 300 workers have filed suit against Forever 21 for maltreatment and unfair wages, according to the LA Times. In one of Forever 21’s Los Angeles factories, workers make about $6 an hour, a rate well below the minimum wage of the area.


The U.S. Department of Labor also started to investigate Los Angeles factories in July of 2016. They found at the time that the workers were paid as little as $4 an hour and concluded that 85% of the factories visited violated labor laws. The factories were producing clothes for other popular retailers, like Ross Dress for Less and TJ Maxx. As consumers, what can we do to avoid clothing that is produced in hostile, inhumane environments? We can buy from Fair Trade brands! Under the Fair Trade system, it is guaranteed that the workers who made the clothing were paid a fair wage and worked under healthy conditions. Usually, these products are also made out of organic materials. A couple of Fair Trade brands that are affordable for college-students and popular include PACT and Everlane. Other brands like J. Crew, Madewell, Patagonia, and Athleta are beginning to have Fair Trade items in their stores, but are still not 100% Fair Trade. Because of all of the human rights violations abroad and nationally, it is very important to be conscientious of the clothing that you buy. Before you go and shop at your favorite brand, do your research on their sourcing. Are you wearing the fruits of an underpaid, abused worker’s labor?

the dangers and implications of fashion sourcing the dangers and implications of fashion sourcing the dangers and implications of fashion sourcing the dangers and implications of fashion sourcing the dangers and implications of fashion sourcing the dangers and implications of fashion sourcing the dangers and implications of fashion sourcing the dangers and implications of fashion sourcing the dangers and implications of fashion sourcing the dangers and implications of fashion sourcing the dangers and implications of fashion sourcing the dangers and implications of fashion sourcing the dangers and implications of fashion sourcing the dangers and implications of fashion sourcing the dangers and implications of fashion sourcing the dangers and implications of fashion sourcing


by Rachael Davis






11 7 MILLS





Hansae Co. Ltd, is a global leading enterprise in the apparel industry with 14 global corporations in seven countries (USA, Vietnam, Nicaragua, Guatemala, Indonesia, Myanmar and Haiti). We have six overseas offices, delivering garments to world’s famous brands in USA, Europe, Japan etc. The company employs 600 employees in the Seoul headquarters, 30,000 workers in manufacturing locations and other cooperators, totaling about 50,000 employees that are striving to raise Hansae from OEM-ODM specialty company into ‘Creative Fashion Design Enterprise’. Visit for more information.

Our Webpage

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Campaign Article on

Sourcing Journal

BACK COVER CREDITS MODELS Mayla Nao, Maggie Kimmett PHOTOGRAPHY Lily O'Brien STYLING Morgan Snow, Lily O'Brien DESIGN Lily O'Brien (LEFT)


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