Hue: The Magazine of the Fashion Institute of Technology

The Magazine of the Fashion Institute of Technology

From the Editor

Yes, this is Hue. It has always been big—a mailbox-stuffing 9½ by 12 inches—and it was time to throw in a curve. This issue is small. A little zine-y. The usual departments are gone. We like it. We plan to do something unusual, something curvy, once a year, because change can be exhilarating.

This issue of Hue has people on nearly every page. Many of them are gender-nonconforming or nonbinary: alums who are designers and business owners offering gender-neutral clothing; queer pioneers; students across the gender spectrum. There’s no agenda here; we’re just taking note of what’s happening on campus and in the culture. As a college magazine, that’s what we do.

As we planned our stories, we talked a lot about words: nonbinary, transgender, gender-neutral, gender-nonconforming, gender-fluid, queer. Getting pronouns right was a priority. We took the issues of gender identity and presentation seriously. While many students delight in their quest for authentic gender expression—their appearance, behavior, pronouns, names—we know that gender identity and presentation are complicated. We also know that what students are doing on campus may not be what they’re doing at home. It was important to respect everyone’s boundaries and let them set the parameters of their participation in this issue. They were thoughtful and open and lovely.

Throughout FIT’s history, students have come here (to FIT and to New York City) to find themselves and be themselves, to find their people, to make the life they want—and that’s something to be proud of.

As noted, change can be exhilarating. To avoid it is as much of a statement as to celebrate it. We choose to celebrate.

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LINDA ANGRILLI

THE BUSINESS OF GENDER - NONCONFORMING STYLE

Since fashion is a key component of self-expression, it’s no surprise that as the concept of gender evolved, so too would the search for garments that allow nonbinary and transgender people to present as their authentic selves. In fact, the State of Fashion

2023 report by the Business of Fashion and McKinsey shows that half of Gen Z worldwide have purchased clothing outside their gender identity.

BY WINNIE M c CROY

Erika Schultz

Utilitarian’s Nous wooden platform boots, Schultz Pant, and Niton leather turtleneck.

The rise of gender-neutral and gendernonconforming apparel has created opportunities for designers. But it has also challenged the fashion industry to market these garments while navigating conservative voices decrying “woke” fashion. Five alumni discussed their entry into what is—for now—a niche market.

1. Eliminate concepts of “menswear” or “women’s wear” and instead consider fashion as self-expression.

2. Embrace and showcase gender-neutral imagery by featuring androgynous models and models of both genders wearing identical outfits.

3. Make messaging and descriptions inclusive by providing actual clothing measurements, not just gendered sizes.

“I believe everything can be for all genders. But everyone automatically thinks ‘gay’ when they think ‘gender-neutral,’” says Bentley Wederski, founder and CEO of Utilitarian, a high-end, menswear-inspired label based in Jackson Hole, Wyoming. “I was pigeonholed as an LGBTQ brand. I want to serve that community, but those folks were searching for Pride T-shirts, not $500 leather boots.”

Wederski, Fashion Business Management ’20, launched his company to go beyond “unisex gray hoodies … and into the idea that gender is just a structure society has made up.” So he created tailored garments with minimalist design: coordinating tops and bottoms, handbags, and a line of shoes and boots suitable for any gender.

Terence Bogan ’89, a Fashion Business Management faculty member and merchandising executive, says this is the ideal strategy for designers moving into gender-neutral fashion: to “have a strong point of view and balance within the selection, hitting all different

4. Rethink the categorization of products to allow for a range of sizes; his brand fits XS to XL. Wederski says that during a stint at Anthropologie, the company launched a plus-size line that did very well. He took those sales figures to his own investors.

ranges for your customer.” In other words, designers can’t offer only unisex T-shirts; like Wederski, they must provide a range of garments anyone can wear.

Despite these outliers, the language around clothing is highly gendered, directing consumers to choose either men’s or women’s garments—e.g., shirts vs. blouses—as is the industry’s purchasing and marketing. “It struck me as odd that men’s base sizes were pattern graded in one way, and women’s in another. I threw that concept out the door,” Wederski says. “I worked with awesome patternmakers to tweak the design for all genders.”

Automic Gold, offer products anyone can wear.

“Jewelry is just jewelry; it doesn’t have to be gendered,” says Alexus Parker, Illustration ’17, creative director for Automic Gold, which offers 14K gold custom jewelry for both LGBTQ and straight couples at competitive prices and aligned with their aesthetic.

“Someone shouldn’t feel rejected or uncomfortable—especially when buying something that costs a lot of money,” Parker says. Automic Gold offers jewelry favored by the LGBTQ community, like nose rings, ear cuffs, and facial piercings.

Wederski in Utilitarian’s Nous wooden platform boots and Rex top.

Ironically, what makes gender-neutral clothing lines a success—considering every aspect, then fully designing the line through that lens, as Wederski did—also creates stumbling blocks. “The biggest challenge is approaching department stores,” Bogan says. “It’s hard for them to figure out where it should be positioned,” or whether to send over a men’s or women’s buyer. Bogan advises designers to “present your collections as one capsule” so the line will resonate, citing as an example the Moose Knuckles x Telfar quilted pant and ballistic bomber jacket unisex marketing campaign.

“It is niche now, a small piece of the puzzle in the grand scheme,” he explains. “To succeed, you’d pair with a forwardthinking retailer who’d take a chance.”

Some designers cater to a niche market, while others, like the unisex jewelry brand

Kris Harrington, Menswear ’14, bucked established trends around eveningwear— “tuxedoes for men and gowns for women”— and created tailored, non-gendered formal wear. “For far too long, the fashion industry has only catered to two different types of people, yet we live in a world where we’re seeing so many different representations.”

The Kris Harring Apparel Group line includes tailored tops, sheer trousers, vests, and blazers, plus a stylized caftan that can be customized by the wearer via drap ing. A Black queer designer, Harrington says fashion is activism.

Alexus Parker.

Bentley Wederski’s four principles for gender-neutral brands

Burlap: Pavel Iarunichev / Alamy Stock Photo; Wederski portrait: Erika Schultz Light blue and gray textures throughout: Elena Elisseeva / Alamy Stock Photo; Parker portrait: Automicgold.com

“Socially and legally, they’re trying to restrict how we express ourselves, who we’re able to be, so the work extends beyond fashion, as our lives are literally on the line.”

Meanwhile, Harrington says, fashion itself needs to evolve. Everything from concept to fabric selection tends to be gendered. And most gender-neutral garments are fitted on male models, which is a problem. “At a recent fitting, I noticed that no one else in the room was built like this model, yet we were making a huge run of clothes based on his body. We need to question how we create.”

So Harrington is moving away from using male models in favor of designing with Browzwear, 3D fashion software she says is both sustainable and cost-saving. While it’s nice that mainstream designers have joined the conversation, their participation so far has been “limited to T-shirts and hoodies, and nobody needs that. They are probably still designing gender-neutral garments on a men’s form.” Harring adds that “true gender-neutral designers relish the opportunity to design clothes to fit all folks.”

For Becca McCharen-Tran, CEO and creative director of the “future-forward bodywear” brand Chromat and an alum of FIT’s Design Entrepreneurs program, “Garments are just objects, without gender. But the history of fashion has so many elements of control, dominance, and power, that it’s hard separating the two.

“Society must rid itself of homophobia, transphobia, fatphobia. To live in a world where everyone is comfortable and in touch with their bodies would be so joyous and liberating,” McCharen-Tran says. “And that’s what Chromat strives for.” Swimwear is highly gendered—and highly revealing. While some gender-neutral designers might be scrambling to conceal

that bulge, Chromat embraces otherness by creating swimwear for trans people who don’t tuck. Through a collaboration with trans woman artist Tourmaline (see illustration on page 16), Chromat created a line of “clothing options that are more or less revealing, depending on your comfort level that day—or that hour. It goes against how trans people are ‘allowed’ to appear in public and lets people feel comfortable and alive in their body.”

The resulting Collective Opulence line features bikinis, tanks, halter tops, boy shorts, swim skirts, thongs, and strappy one-pieces. A fall 2021 fashion show at Riis Beach, a gay bastion in New York City, showcased models of all body types, sexualities, and gender expressions.

“It was creative reimagining, making products for the world we imagine,” McCharen-Tran explains. “So much of Chromat’s work is designing for this ideal, utopian, liberatory, inclusive world.”

Because Chromat is a small brand

with a queer founder, it wasn’t a hard pivot to a wholly gender-neutral model. But it can be daunting to try. Auston Bjorkman, Menswear ’10, cofounder and head of design and creative for Transguy Supply, says after FIT, genderneutral design was the last thing on his mind, despite being transgender.

“I wanted to be on the world stage,” he says. “There were no other [openly] trans designers, and I didn’t want to be pigeonholed into making clothes for trans people only. So I started [my first clothing line] Sir as a menswear line for all genders.”

Bjorkman created futuristic prints and claims he was the first to use spacer mesh and neoprene to marry sportswear and high-end fashion. He found “the right moment where things lined up and took off. All these celebs started buying it, like Usher and Wiz Khalifa. The downside was it was copied immediately by everyone from Adidas to Alexander Wang.”

After injuries sidelined him, Bjorkman

Three looks from Harrington’s debut capsule collection, photographed for Out magazine when she won its 2018 Fashion Vanguard Award. Harrington is in the center, wearing her asymmetrical sleeveless top with pleated tuxedo shorts.

“To live in a world where everyone is comfortable and in touch with their bodies would be so joyous and liberating.”

Runway image: Debbie Lamont; three models image: Ricardo Horatio Nelson; burlap: Maryia Kazlouskaya / Alamy Stock Photo

A high-waisted tuxedo pant from Kris Harring’s second runway collection, presented at the 2018 DapperQ Fashion Show.

closed Sir and “began to see fashion from a different side.” In 2018 he founded Transguy Supply, offering jockey shorts, packer gear for penile prosthetics, chest binders, and portable testosterone injection kits.

“It’s a lifestyle brand, about serving the community and showing we can be trans and nonbinary and thrive,” Bjorkman says. The line— including $18 bottles of nail polish—sells so well he struggles to keep items in stock, showing that trans men “are here, thirsty, and want nice things. It says we’re a viable chunk of the market.”

McCharen-Tran says department stores often separate unisex lines into their men’s and women’s sections. Bogan warns that designers “must create something consistent with the store’s DNA, or it will be broken up and get very lost.”

According to McCharen-Tran, unisex designer Rad Hourani stip ulates that his entire collection be displayed together and placed in a gender-neutral area. Chromat side stepped this by selling only online; Wederski says he’d make stipulations like Hourani.

Language also matters to customers, Wederski says. When a mentor brought his (straight) son to a pop-up, the boy expressed halting interest in a Utilitarian bag. “As soon as I called it a briefcase, he bought it.”

Auston Bjorkman.

McCharen-Tran portrait: Carolina Porras Monroy; swimsuits courtesy of Chromat; Bjorkman portrait:

Nomi Ellenson

LEFT Becca McCharen-Tran.

BELOW : McCharen-Tran designed this Chromat swimwear collection with artist Tourmaline for trans, nonbinary, and intersex people.

Language doesn’t always reassure consumers; sometimes it angers them. Jewelry websites feature gendered categories, but Automic Gold was “created to make people feel comfortable … and still gets homophobic and transphobic comments,” Parker says. For McCharen-Tran and Tourmaline, the hate surfaced when HSN brought their line to a new audience, which responded with “horrible, hideous, transphobic comments … livestreaming across our phones.”

Bogan says, “You can’t listen to that noise. There will always be that in every facet of the business. It just means that’s not your customer.”

Bringing Inclusivity to Fashion Design at FIT

For this year’s Future of Fashion runway show (fashionshow.fitnyc.edu), Macy’s, the show’s sponsor, offered an award for the best gender-neutral look. Lorenzo Lukban won for a poncho embellished with dozens of colorful appliques.

Lukban, who accepts all pronouns (“as long as there’s no malice behind it”) was surprised that the garment won. “When

people think of genderneutral now, the color palette is very neutral, nothing too extravagant,” they say, “but I design on the feminine spectrum, with elegance and glamour.”

According to Su Ku, chair of Fashion Design, “There’s

much more diversity in the business nowadays, and our curriculum reflects that.” Students have also been requesting a greater variety of dress forms. This spring, the department invested $80,000 in male and plus-size female forms, allowing students to design for the size and shape of their choice. “Inclusive design is good design,” Ku says.

—Jonathan Vatner

Wederski agrees. Despite hostility from certain consumers, he says, “the market wants it, and smart investors see that. Gender-neutral is taking off, and like sustainability, everyone will offer it.

Wholesalers in the dark ages will be forced to change.”

Parker already sees “younger people experimenting, playing with hair length, wearing fitted clothing with a more masculine build. People in our generation are super cool with it; eventually people won’t care what you wear.”

And it’s not only the youth embracing this change. The 2023 State of Fashion report shows that 70% of global consumers express an interest in buying gender-fluid fashion in the future. The change is visible not only on the runway, but in annual increases in online searches for gender-neutral or genderless clothing.

“There’s no one way to find yourself or your entry into fashion,” Bjorkman adds. “Both in fashion and in your gender presentation, if you’re authentic to yourself and shut out the haters, you will find your own path.” �

Some of Automic Gold’s gender-neutral rings, in 14k solid gold.

The 2023 State of Fashion report shows that 70% of global consumers express an interest in buying gender-fluid fashion in the future.

Lukban modeling their award-winning garment, featuring a black satin poncho with clusters of embroidery patches, appliqués, and recycled lace collaged and hand-sewn together.

Girls will be boys and boys will be girls

It’s a mixed up muddled up shook up world

Except for Lola

La la la la Lola

—The Kinks (1970)

“A gender-equal society would be one where the word ‘gender’ does not exist: where everyone can be themselves. ”

—Gloria Steinem

OUTLAWS AND ICONS

Source photos: Tourmaline

Source photos: Bronson Farr

I found mywayown in the world.

“ ”

Since 2020, I’ve seen much more gender fluidity on campus and in the classroom. It’s wonderful. The men in particular have found FIT a safe space to be really playful and “out there.” The new masculine has many shades of the feminine, including glitter makeup and pearls. Trans men have found their own way to cross-pollinate, like the bluehead wrasse of Venezuela or the African reed frogs that change gender in a single lifetime. There is change in us and in the natural world all around us.

FIT has been swimming in these waters from the very beginning. With our unique employee union—strong, and inclusive of both faculty and staff—shaping our work environment, and our mission as the only public art and business college in New York City, we’ve been radically diverse and full of creativity for decades. It’s a deep part of who we are.

From a very young age, I saw myself as completely gender-nonconforming. In college, I was disowned by my family for what they perceived to be an “unacceptable” queerness in the way I dressed and whom I loved. This keeps me aware of the ongoing exuberance and vulnerability in gender self-expression that many members of the FIT community may experience. “They” as a pronoun option, however, didn’t exist when I was in college, so I found my own way to exist outside or beyond categories. When my colleagues started to put their pronouns in their email signatures, I thought, I certainly can’t put “she,” and I can’t use “he,” so I chose and embraced “they.”

My students actually refer to me as “they” in their evaluations. At first I thought, Who’s “they”? Oh—that’s me.

Blume wore “my whites” to this conversation: a stunning white wool suit by an English tailor.

to be

Anna Blume, professor, Art History and Museum Professions, History of Art

Dreamstime.com; Anna Blume photo: Jiahui He

RAD ICAL

How designer Elizabeth Hawes (1903–71)

took fashion out of bounds

BY ALEX JOSEPH

Mary Morris Lawrence

Hawes wearing utilitarian suspender slacks, 1941.

Iwas asked to create a wedding dress. Silk was rationed for the war effort, so she purchased a multitude of silk flags to make the skirt. The garment had a political message; Hawes placed the Axis powers flag (Germany, Italy, Japan) at the back, so the wearer would sit on it.

Throughout her life, Hawes (1903–71) pushed back against every possible convention with defiant wit. Her attitude was daring for the time, and the FBI investigated her for leftist activism. Hawes was “not believed to be directly connected with the Communists,” an entry in her FBI file reads, “but inclined to be radical in her thoughts and actions.”

She may have been America’s most anti-fashion fashion designer. In the first and bestknown of her nine books, the screed Fashion Is Spinach (1938), she wrote, “Fashion is that horrid little man with the evil eye who tells you that your last winter’s coat may be in perfect physical condition, but you can’t wear it … because it has a belt and this year ‘we are not showing belts.’” The industry’s wastefulness, sexism, and wage inequality triggered her fury.

Hawes “was all about personal style over fashion,” says student Maria Ferrara. Ferrara

served as the media manager for Elizabeth Hawes: Along Her Own Lines, the first contemporary exhibition about the designer, organized by graduate students from the Fashion and Textile Studies MA program and held in March at The Museum at FIT. “I’m a maker of style, not a fashion-monger,” Hawes told one interviewer. “Style is a comparatively permanent quality.”

A Vassar grad, she spent the first phase of her career in Paris, illegally copying couture gowns (and publishing fashion-related riffs in The New Yorker under the pseudonym “Parisite”).

Back in New York, she started her own house on 56th Street. Movie stars like Katharine Hepburn and members of the intellectual avant garde were clients. Despite her egalitarian principles, her clothes were seldom within the budget of ordinary Americans. Hawes bristled at the compromises of mass manufacturing. “She felt that a dinner jacket should be an

expression of something, not a reproduction of a uniform,” her son, Gavrik Losey, said.

Inspired by artist friends Joan Miró and Isamu Noguchi, Hawes gave her outfits titles: “Curiouser and Curiouser” and “Beautiful Soup” (both references to Alice in Wonderland). Twice divorced, she named a multicolored dress in silk and wool “Alimony.” It came with a black suede handbag made to look like male genitals. Another dress, “The Tarts,” featured arrows pointing at the bust and posterior. She had a descented pet skunk, which models walked on a leash during her fashion presentations.

In an unpublished manuscript held in FIT’s Special Collections, Hawes wrote that she wore blue jeans to marry her second husband in 1937: “The justice of the peace asked, ‘Do you take this man to be your wife?’” She always quailed at gender conventions for clothing. “God help the American male with his background of having The Museum at FIT

Hawes designed these men’s multicolored cotton knit swim trunks, 1964.

“There’s nothing new about the idea [of men in skirts],” she told The New York Times. “The Moroccans, the Arabs, and the Greeks have been at it for years, not to mention the Scots. The only time men blanch is when you call it a skirt. If you say kilt, it’s all right.”

During the war, Hawes closed her shop and took a job in

though her son has another theory. “Because of her left-wing background, the FBI wanted to sabotage her and told her clients that she was … dangerous, so they left her,” Losey said.

Hawes first came to the FBI’s notice because she held a fashion show in Moscow in 1935. Little information about that groundbreaking

wrote. “I think we can all agree that the United States is not a democratic country.”

As a writer, activist, and fem inist, Hawes remains exemplary: a fashion visionary whose irrev erent verve and progressive bent are still relevant.

Visit the online version of the Hawes show at The Museum at FIT: fitnyc.pub/hawes

The New York Times article with a photo of a Hawes design at left. The story, which appeared after her 1967 retrospective show at FIT, mentioned her concept of skirts for men.

ABOVE Hawes with a miniature dress form and typewriter, circa 1938.

LEFT : Hawes designed this man’s purple crepe kimono-style robe, circa 1959–64.

The New York Times

Porttrait: Ralph Steiner, courtesy National Portrait Gallery, Smithsonian Institution; Kimona: The Museum at FIT

EXPRESS YOURSELF

A GLIMPSE INTO GENDER DIVERSITY ON CAMPUS

PHOTOS BY KAYDEN MICHAEL STRAUSS ’ 21

This portfolio celebrates the exuberant explosion of gender expression we’ve been seeing on campus. FIT has often been a refuge for students to explore their identities and experiment with their gender presentation. Anyone who’s been paying attention has noticed a certain freedom and adventurousness in students’ dress, and we wanted to show some of what’s going on around West 27th Street lately. That seems simple, but it wasn’t. Even at FIT, gender identity can be a sensitive topic. We didn’t want to choose the students who would appear in this feature; we wanted to put the idea out there and have them come to us. We hired three students—Koîos Glasscock, Mafu Galarza, and Peshi Kendall (see page 40)—from FIT’s LGBTQ+ Alliance as consultants to help shape the story, promote the project to fellow students, and interview the participants. Nonbinary alum Kayden Michael Strauss, Photography ’21, shot the portfolio. Eight photographs couldn’t possibly capture the diversity of gender expression at FIT, but they offer a glimpse of 10 students, just being themselves.

Adrian Pasos {he/him}

Photography and Textile/Surface Design

“

I’m kind of all over the place. I don’t have one thing that I stick to. I’m inspired by a lot of different things. I want to do everything and be a part of every subculture.”

Emani Wilcox {she/her}

Fashion Business Management

“ The reason I got into fashion was because I used to get made fun of for dressing like a guy—whatever that means. In the future, I envision myself having a creative studio, not just for clothes and music, anything. I want to make a safe space for creatives.”

Tyler Lormel (aka Crystal Marie Tyler) {she/they}

Fine Arts

“ How people perceive me is none of my damn business. I’m not in control of what somebody else is thinking or feeling. Some people are going to like it, and some are going to hate it just based on the fact that I’m queer. And I can’t reverse that. ”

“ Drag is the best thing that’s ever happened in my life. It doesn’t matter your gender, sexuality, shape, size—it’s a beautiful art form. I used to be very selfconscious about my body. I didn’t like having my midriff showing. Today I wanted to accentuate it, because as I’ve done more drag shoots and worn more revealing clothing, I’ve felt more comfortable in my body. ”

Jenna Markart

(aka Scarlet Foxx)

{she/her}

‘Is that a boy? Is that girl? What is that?’ ”

Rayne Breda {they/them}

Fashion Design

“ I want people to see me and go,

My style is eclectic modesty— I give ‘rich auntie’ energy. This is one of my grab-and-go dresses. I wear it sometimes for job interviews.”

Lorenzo Lukban {Any pronouns}

Fashion Design

“ I’m a minority in so many different aspects, being mixed-race, neurodivergent, queer, and nonbinary. They all mean huge things when it comes to my artwork and creative writing, my character creation, even dancing. Sometimes I like being hyperfeminine but other times I want to be hypermasculine.”

Milo Zwirba {they/he}

Advertising and Digital Design

“ My style is genderless Victorian prince meets … you know those creepy vintage baby photos that are just a pile of white lace and then a little face? Like that.”

Mafu Galarza {they/she}

Fashion Design

Peshi Kendall {they/he}

Fashion Design

“ I have a weird relationship with gender: I don’t really think about it. I used to want to be perceived as more androgynous. Now I just play and experiment.”

Koîos Glasscock {they/them}

Production Management

“ I mostly wear ‘light academia’: a lot of sweater vests, this pleated skirt … it’s little-schoolgirlmeets-businessman. I do not identify as feminine, but I present myself as very feminine, because it makes me feel prettier. But I want people to see me as the person that I am, not based on my appearance.”

— Laverne Cox, Fashion Merchandising Management, from Disclosure (2020), a documentary that Cox executive-produced about representations of trans people in Hollywood

“The ways in which trans people have been represented have suggested that we’re mentally ill, that we don’t exist, and yet HERE WE ARE. AND WE’VE ALWAYS BEEN HERE.”

WINNIE MCCROY

(she/her) is an award-winning reporter who has written for more than two decades about fashion, arts and entertainment, food and wine, and local news and politics for New York publications. She recently relocated to the Jersey Shore with her wife and pup.

KAYDEN MICHAEL STRAUSS

(they/them), Photography ’21, is a lens-based artist who has worked with Elle Mexico, W, Paper, DKNY, Ralph Lauren, Saks Fifth Avenue, and Kenneth Cole. Photography allows Kayden to explore what connects them to their subjects, rather than what separates them.

CONTRIBUTORS

CRISTY ROAD CARRERA

, aka Cristy C. Road (she/her), Illustration MFA ’17, is a firstgeneration Cuban-American illustrator, writer, and punk rock musician in Brooklyn, NY. Her three graphic novels tackle gender identity, sexuality, cultural identity, and healing from trauma. Next World Tarot, her tarot card deck, envisions a world based on radical redefinitions of love and social justice.

LILLIANA BIFFERATO

(she/her), Graphic Design ’24, Advertising and Marketing Communications ’21, specializes in illustration, digital design, and animation. She lives in Manhattan but has three dogs at home in Delaware.

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LINDA ANGRILLI Editorial Director

ALEX JOSEPH , MA ’15 Chief Storyteller

JONATHAN VATNER

Managing Editor

SMILJANA PEROS Photography Coordinator

ALEXANDER ISLEY INC.

Art Direction and Design

GOODFOLK AGENCY

Web Design

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