Bucknell Editorial Winter 2016

BUCKNELL EDITORIAL WINTER 2016

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BE TEAM CREATIVE DIRECTOR Nicole Adams ASSISTANT EDITOR-IN-CHIEF Devon Daniusus LAYOUT HEAD Becky Chambers HEAD HAIR & MAKEUP Sarah Rosecky MARKETING COORDINATOR Amanda Carlson FASHION COORDINATOR Caroline Haber EDITORIAL Mamta Badlani, Michelle Choe, Sara Rukeyser, Camille Sommerfield, Bella Trujillo-Lederer FEATURED PHOTOGRAPHERS Sean Gilchrist, Megan Martzoff, Margot O’Dell, Caroline Sullivan LAYOUT Jessica Gibson, Devon Holland, Jess Quindlen, Julieta Robinowitz, Heather Smith, Bella TrujilloLederer FASHION Julia Chinman, Callie Fried, Caldwell Harden, Emily McCarthy, Lena Miskulin MARKETING & PR Abyan Abdullahi, Callie Fried, Kathryn Harmon, Jenn Howland, Amanda Hunt, Simone McLaren, Julia Pacifico, Camille Sommerfield, Viv Yi HAIR & MAKEUP Emily Heydt, Eliza Kaufman ADVISOR Roger Rothman TREASURER Mclean Doran BE is a student-run magazine at Bucknell University in Lewisburg, PA. BE circulates two editions per academic year: Winter and Spring editions. Involvement in BE is open to all undergraduate students and we are always looking for new members.

Follow us on Facebook: Bucknell Editorial Magazine & Instagram @bucknelleditorial

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table of contents 06 BE Buzz | Devon Daniusis 08 Unmentionables Worth Mentioning | Bella Trujillo-Lederer 10 More Than Meets the Eye | Michelle Choe 12 Meet the Black Student Union | Megan Martzoff 18 Intimate Conversation with BSU | Devon Daniusis & Nicole Adams 24 Music & Fashion Collide | Camille Sommerfield 26 Blank Canvas | Caroline Sullivan 30 Inked | Devon Daniusis 32 Lazy Sunday | Sean Gilchrist 38 Hot Off the Runway | Camille Sommerfield 40 Retrospect | Photographer 50 Appropriation or Appreciation? | Michelle Choe 52 Street to Chic | Mamta Badlani 54 Rewind | Photographer 58 Neutral is Not a Color | Sara Rukeyser 60 Featured Artist | Masha Makhmudova & Lena Miskulin

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DEAR READER,

Welcome to the first edition of Bucknell Editorial (BE) Magazine, formerly known as Be Fashion. This issue reprI am so proud to welcome you to the second issue under our new name: Bucknell Editorial. With this issue we have refocused our production process to ensure that we filter each single inspiration through as many different creative voices as possible. Every portion of this magazine has been carefully considered by our teams to promote the highest authenticity, which we owe to ourselves and our readers. We continue to cultivate our new reputation as a platform to explore all intersections of life in a creative and thoughtful way. We have populated this issue along the theme of “Obscured Boundaries: Art and Fashion” to allow for the widest range of content.

I chose to explore the blurred boundary between art and fashion as today the two have transparently wounded together in an twisting and ever evolving double helix of innovation. The intersection of art and fashion has a long standing history. We invite you to discover the generations that have evolved everything from street photography, to tattoos, to underwear, and endlessly more. Read and become inspired about the changes yet to come with the cultural appropriation debate, technology and clothing manufacturing, and even the unjust exclusivity surrounding neutral colored clothing. Devour these pages with an open mind as we ask you to question your own style, reimagining it as everyday art.

With this existential questioning of boundaries, we looked to our creative process and how it affects our purpose on this campus. Instead of utilizing just one creative voice, we sought to lean on each other for inspiration. This led us to strengthening our relationship with the Black Student Union, who we featured as this semester’s interest piece.

We realize that our purpose is be a platform for both creative thoughtfulness within and outside of our team. With this issue and many going forward I hope we continue to be this platform and serve the campus to the best of our ability. I am thrilled to showcase the hard work of many talented and thoughtful students in this semester’s issue.

Nicole Adams CREATIVE DIRECTOR

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wearlively.com

sikhphilosophy.net

Casey Neistat Youtube Video

larajade.co.uk

crapeyewear.com

THE BE BUZZ

EXHIBIT: Scott Campbell “Whole Glory” Scott Campbell of Saved Tattoo parlor created an exhibit at Milk Gallery, giving mystery, complimentary tattoos to the twenty three lucky fans who entered and won the lottery. In this exhibit, a white picket fence was erected to separate Campbell from the recipient, and they each placed their arm through a circular hole in the wall to receive a one-of-a-kind Campbell tattoo. Participants reported their attachments to the tattoos they received and expressed similar sentiments that it seems as if it were made specifically for them despite their anonymity to the artist.

ACCESSORY: Crap Eyewear This brand whose tagline boasts, “Don’t Worry, Be Crappy”, is an independent sunglass brand that started in protest to the expensive and serious eyewear industry. Crap Eyewear seeks to present the public with much more fashion-forward and affordable options. In addition to their seasonal releases, they also have a significant number of collaborations with up and coming musicians and other artists like Illegal Civilization, X-Girl, and most recently, rapper YG.

MUSIC: Solange: A Seat at the Table (specifically Don’t Touch my Hair) Solange’s most recent release is one steeped in history, yet is extremely culturally, socially, and politically relevant. Some songs on the record are prayer-like while speaking of the various overtly aggressive acts and microaggressions committed against African Americans. Solange characterizes it as, “a project on identity, empowerment, independence, grief, and healing.” The album is carefully pieced together, the song and message sequencing following a pattern so deliberate that it is clear that it should be listened to in its entirety.

FASHION SHOW: Misha Nonoo In this modern age, many designers are questioning the necessity of elaborate, exorbitantly expensive runway shows, and are seeking to replace them by using digital platforms to their advantage. Misha Nonoo embraced a “see now, buy now” business model and held her whole show on Snapchat. The “live lookbook” was available for only 24 hours, although subsequent photos coupled with artful graphics were posted on Instagram.

CLOTHING: Lively Lively is a brand that is committed to delivering a new category of lingerie that combines high-style and high-comfort: Leisurée. All production and manufacturing is conducted in ethical facilities that promote fair labor practices. The company is also committed to disseminating body positive images through their products and advertising. Their garment pricing is moderate and straightforward, and they have been praised by the likes of Refinery29, InStyle and Fast Company.

POET: Rupi Kaur Rupi Kaur is a Canadian feminist poet whose poems grapple with issues of violence, abuse, loss, womanhood, race, and so much more. Her book of poetry and prose entitled “milk and honey” was widely consumed, resulting in international acclaim and recognition. She has gained increased traction on Devon Daniusis Instagram where she engages in conversations regarding censorship and her ability to share content surrounding the taboos regarding menstruation.

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UNMENTIONABLES WORTH MENTIONING

THE EVOLUTION OF WOMEN’S UNDERGARMENTS THROUGHOUT HISTORY Photo Courtesy of Tumblr.com

“AS BEAUTY STANDARDS OF WOMEN HAVE DIVERSIFIED OVER TIME, WOMEN’S CONCEALED FASHION HAS FOLLOWED SUIT.” The evolution of women’s undergarments over time is more than just changes in patterns and colors.

Rather, trends in unmentionables are inextricably linked to progress in women’s rights throughout history. As beauty standards of women have diversified over time, women’s concealed fashion has followed suit. Through the years, western women’s roles and rights have changed in conjunction with the different styles of women’s most subtly profound fashion statement.

Since the beginning of modern fashion, women have used a plethora of garments to cover, restrain, reveal, or modify the appearance of their chests. During the 14th century, the corset made its debut. These uncomfortable devices made of whalebone and wood dramatically altered the shape of a woman’s natural figure, pushing up women’s breasts as a way to flaunt their femininity to society. It is no coincidence that at this point in history, women’s actions and rights revolved were dictated by her male counterparts. A woman did not have ownership over her own body or what she wore under her subservient domestic uniform.

Fast-forward to early 20th century, and the role of women in society is drastically changing along with their intimate fashion. In 1910, Washington state legalized a woman’s right to vote emphasizing a woman’s voice, intellect, and importance. 30 years later, World War I called for drastic change across multiple sectors of society. According to PBS, the U.S. War Industries Board asked women to stop purchasing corsets as a way to free up metal for war production, saving 28,000 tons of metal, enough to build two battleships. With the men were going off to war, the women entered the factories for the first time, forcing the basic design of women’s intimates to be modified. As the impractical corset cycled out, separates became the undergarments of the modern woman, thus leading to the invention of the “brasserie.”

The term, brasserie, originally coined by Vogue in 1907, refers to what is modernly known as the bra.

For many women, the corset quickly became a memory of undergarments past. The invention of the bra gave women practicality, which allowed them to escape from

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a the fitted, uncomfortable structure of corsets, letting them to reclaim ownership of their own bodies and become more active participants in their own lives.

This shift in undergarment design came as women such as Amelia Earhart, Coco Chanel, Eleanor Roosevelt, Janet Evans, and Oprah trail blazed in their fields and redefined what it meant to be a woman.

Although the bra has had great success in the past century, with the modern feminist movement gaining major headway, the bra has quickly entered into competition with the latest trend known as bralettes. Celebrities, models, and prominent socialites alike have flaunted these new “it” girl accessories. Now, bra straps and embracing the notion of womanhood is something to be praised. The bralette has no wires, padding, or molded cups to drastically alter the shape of a woman’s chest. Instead, bralettes are typically adorned with lace, mesh, and dainty straps that provide an overall more intricate and fashion-forward look. Additionally, the bralette does not have a specific design mold that it has to stick to. Bralettes can be halters, multi-strap, triangle, sporty, high-neck, low cut, and so much more. This design freedom allows the bralette to become a fashion statement and integral aspect to a woman’s ensemble.

As we are moving in the age of the bralette, women now flaunt their tasteful straps, pay little mind to the fact that their nipple could show from their unlined undergarments, and overall embrace their natural bodies. This modern notion of accepting one’s body as beautiful without enhancement is on par with societal attitudes of the feminist movement of the 21st century. In politics, education, sports, entertainment, medicine, and other sectors, women are demanding equal opportunity and recognition. As women are reclaiming their right to opportunity in society, they are also reclaiming ownership of their own bodies.

Although the bra is but a small piece of women’s fashion, its metamorphosis over time continues to reflect the evolution of the woman in society.

Bella Trujillo-Lederer

MORE THAN MEETS THE EYE

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Photo Courtesy of www.trenvisions.it

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trends, meaning it is always evolving with increasing demands from fashion consumers. This cycle has created more waste as a result: “in the US alone, about 10.5 million tons of clothing are sent to landfills each year”. But researchers at Massachusetts Institute of Technology are working on a 3-D printer that can produce jewelry out of shrimp chitin, a natural waste product. “Wear it for the summer and at the end, throw it in the ocean and it dissolves in salt water,” suggests Parkes. This idea works with the trend-culture in a more environmentally-sustainable way. However, there are economic and social issues the integration of technology could exacerbate.

The short-term, fast-paced mindset of fashion companies conflicts with the developmental time and financial resources needed for most of these ideas. “In terms of taking a multi-year, complex science project and putting fashion money behind it, I can’t think of many examples of brands that can afford to do that.” Suzanne Lee, chief creative officer of Modern Meadow. In addition, there are concerns with artistic integrity and personal privacy. 3-D printing technology is advancing rapidly, meaning that more and more people will have access to it. There are already tense conflicts with fast-fashion brands copying designs and increased accessibility to 3-D printers could further aggravate this problem. Wearable technology could also render users’ privacy more vulnerable to companies. Garments that track the wearer’s physical and emotional information can be valuable for the company and its customers, but where do we draw the line on what should remain private?

It is no surprise that many of these ideas will likely take decades before they are market-ready, but I cannot help but think of the centerpiece of the Manus x Machina exhibit: the Chanel fall-winter 2014 wedding dress. With the integration of computer-printed designs and hand-embroidered accents, it is a visual representation of how human and machine can come together to fashion a piece unlike any before. Technology has the potential to greatly advance fashion as a business and an art, but it should never replace design. Met curator, Andrew Bolton, described this critical point best: “I’m not a fan of fashion technology where designers use technology as an end result in itself. I’m more interested in designers who use technology to advance fashion and their practice” .

Michelle Choe

potlights brought shimmering, sequined gowns and elaborate feathered capes to life as enthusiastic chatter filled the air. You could hear the subtle oohing and ahhing as visitors passed from display to display, snapping photos of their favorite pieces along the way. The Met’s Manus x Machine was constructed of maze-like hallways that stimulated a sense of discovery when you stumbled upon another tucked-away room. As exciting as this exhibit was, I couldn’t help but feel a little lost. I had a hard time understanding the correlation between technology and fashion. The exhibit claims to “explore how fashion designers are reconciling the handmade and the machine-made in the creation of haute couture and avant-garde ready-to-wear.” This seemingly vague statement did not completely resonate until I walked into the tailoring section of the exhibit.

Against one wall stood a couple versions of a Chanel specialty, the iconic boxy skirt-suit. First introduced in the 1920s, this set has remained a classic against all the trends and fads that have passed through the fashion industry. I instantly thought all the suits were the same, but after a closer look at the descriptions, I learned that two were 3-D printed sets from the fall-winter 2015 couture collection. I was shocked: a computer-made suit stood next to its classic wool predecessor to illustrate how revolutionary craftsmanship can be applied to timeless silhouettes. I’ve heard of 3-D printers being used for medical purposes, but fashion?

Manus x Machina introduces the idea that this blossoming relationship could have bigger implications for progress in the fashion industry.

First, technology can alter how we interact with the fabrics we use. Amanda Parkes, co-founder and chief of technology and research at Manufacture NY says we can begin to “demand interactivity from textiles and fibres themselves” . For example, Intel recently partnered with fashion label, Chromat, to create the Aeros bra. Made from Lycra, neoprene, mesh and a 3-D printed carbon-fiber frame, it can detect heat and sweat to open vents that will help cool down its user. In the future, this wearable technology can be applied to other medical needs that either the health nor fashion industry have addressed.

Second, technology can turn fashion into solutions for larger threats that endanger the industry and world at large. Take the nature of the fashion culture. It is based on

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meet the

BLACK STUDENT UNION

Photographed by Megan Martzoff

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Featuring:

Matthew Alexander ’19

Kwaku Amponsah ’19

Amarachi Ekekwe ’18

Gyasi Gittens ’19 13

Justin Guzman ’19 Simone McLaren ’19 Andranae Nelson ’17 Jahi Omari ’17 Ty Smith ’20

BSU acts an expression of mind allows me to exentuate how I feel about the campus and more importatnyl and how i affiliate myself with the populace around. I think that when you are around a group of people who may not understand how you feel or you cant connect with. BSU is an expression it is an outlet and it is a canvas you can paint on- Ty

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BSU is my home away from home- Simone

BSU to me is the place where I can fully express myself without any limitations- Kwaku

BSU to me is a place where members of different parts of the community can come together as one and unite- Ella

BSU is a place of comfort- Andranae BSU is the place where I can be my true self- Amarachi Jewelry all from Wilson and Ross

BSU is the place for me to just get out of my comfort zone and be myself- Kabir

BSU to me is the place where I can be black- Matthew BSU is a place where I can connect with people who come from similar backgrounds and similar struggles- Justin

INTIMATE CONVERSATION WITH BSU

Speaking with membersof the Black Student Union was a truly enlightening experience and a chance to learn more about how this organization functions on campus. Each member has such a unique story and articulated the ways he or she felt that being a member of this on-campus group gave a sense of community and inclusion.

They each expressed a similar sentiment that, since joining, they have found a more defined sense of self and a family within the Bucknell community.

Why were you initially interested in joining BSU? Andranae Nelson 2017, “I’m from Washington, D.C., so… coming from a predominantly black high school and then coming to bucknell that was a huge change for me so I wanted to find a safe space where I was comfortable around people who look like me… I found in BSU people who share similar experiences on campus” Ella Tazuna Johnson 2017, “I am from Los Angeles, the school I went to and the neighborhood I grew up in was predominantly hispanic... for me joining BSU was a chance for me to get closer to my brethren on campus because I didn’t really have that at home and a chance to establish that community on campus” How do you think being a part of BSU made your Bucknell experience unique?

Amarachi Ekekwe 2018, involved since freshman year, on executive board freshman year, “I hated Bucknell when I first got here and I was going to transfer, if not for Posse, I definitely found a home away from home in the Black Student Union and I felt like I was having the most fun with BSU from Stomp Out to the Fashion Show to Black Arts Festival, I just felt that a lot of the experiences I was have at the BSU was making me happy here and feel more comfortable on campus” Jahi Omari 2017, “...I didn’t pledge, so at first I didn’t think I had an alternative place to go and have fun, BSU would 19

have… functions so that I could have an alternative life besides greek life and it really helped me feel that I had a sense of community and I could be myself. It was kinda similar to being home, I am from Baltimore, and I did get that similar Baltimore vibe being in BSU.” How would you define the BSU community?

Andranae Nelson 2017, “We are definitely inclusive. Also, I would say that the students of BSU are “woke,” because we are aware about social, political, and cultural issues that surround us.”

Jahi Omari 2017, “I feel like in BSU we are always trying to make people laugh.”

Ella Tazuana Johnson 2017, “I would say alive, everyone is alive in someway, you can spot us out on campus for one, two we make our presence known on campus, we don’t necessarily care what other people think of us in a negative way, because if they do we are gonna figure out a way to make ourselves appear better… we’re vibrant, we’re colorful.”

Andranae Nelson 2017, “We’re beautiful.”

Could you explain the values of BSU? Ella Tazuana Johnson 2017, “Going off of that, I think us as the Black Student Union should also integrate into the other communities, especially in terms of multicultural communities whether that’s SASA, SAAB, LACOS, MSA, Students for a Free Tibet, GSA, among all the others.

Why? Because at the end of the day we all represent something unique on campus; but if we can learn from those differences, we have the power to become united.”

Amarachi Ekekwe 2018, “The biggest value that I have seen in BSU is individuality, even though we are the Black Student Union, we are a whole, something that I appreciate about every member of the Black Student Union we all bring our individual selves to what ever we are doing, it’s like a breath of fresh air.”

What changes would you want to see happen at Bucknell?

Amarachi Ekekwe 2018, “One thing that frustrates me, is the fact that with a lot of specific cultural groups when you hear the name you think it is only exclusive to students who fall under that umbrella term so with the Black Student Union we think that it’s only for students that identify as black or African American, but we are more inclusive than people think and we are always very welcoming to students coming to our meetings or events.”

Jahi Omari 2017, “I wish for the future of Bucknell that we would have a stronger sense of community because I feel like a lot of my interactions on campus, and a lot of the interactions, are very surface level… people aren’t genuinely trying to figure out how someone is doing. I wish that as Bucknellians with our class and other classes we can really be emotionally invested in each others lives.”

How would you each describe your individual style?

me in some Jordans or boots, which is basically more of a comfortable, relaxed look to a dressy, vibrant style.

Ella Tazuana Johnson 2017, “I don’t really match anyone else in this group and that’s okay. My style is that I wear whatever I want, and if people like it they like it, if they don’t they don’t, because I know I’m gonna enjoy and rock whatever I wear either way...with confidence. I have my conservative days and there are those moments when I want to feel a little, exposed. I tend to wear more colorful items and it’s almost always patterned in some way, regardless of the weather or the type of event I’m attending. I love it because it’s different and not everyone does it. ”

Jahi Omari 2017, “I would say my clothing style is very straightforward. I like color matching, I like my shirt to match with my shoes and I try to have a formal but casual look. I like to layer up and my sweater game be low-key strong.”

Amarachi Ekekwe 2018, “My style is very coordinated.

With whatever I am wearing, my shoes are almost always matching, whether it’s the color or the style. I just feel like when everything matches and goes together, the outfit is complete. I also love that my style is not specifically gendered. I have my tomboyish style as well as my girlygirl style and it works for me.”

Andranae Nelson 2017, “My style is versatile. I don’t like wearing the same thing all of the time, but you may find 20

Has your style changed since coming to Bucknell and if so, how?

Ella Tazuana Johnson 2017, “Through my time at Bucknell I’ve definitely changed. I embrace what I really want to wear versus what I think people might like best. Since going abroad to Ghana and Jordan, I have changed mentally which also has allowed me to change physically in what I wear. And you know what, I love where I’m at now.”

Andranae Nelson 2017, “I don’t think my style has changed much. My first year I noticed the style was definitely a little different here, more of the preppy look. But I do think style changes, depending on where you are and by where you come from. Since I’m from Washington, DC, my style has a lot of influences from the neighborhood I grew up in.”

What are other modes of self expression that you employ?

Andranae Nelson 2017, “I love the performing arts. I took that form of art to communicate powerful messages through my singing, acting, and dancing. I also view it as a coping mechanism to assist with getting through difficult times.”

Amarachi Ekekwe 2018, “If you haven’t heard one of my spoken word or rap pieces, ask me and I will share. Spoken word and rap are my outlets to not only spreading my message, but to connecting with other people. Music is so universal and I believe that no matter the genre, if the message is good and addicting, anyone will be willing to listen to what you have to say” Ella Tazuana Johnson 2017, “For me, I was into the performing arts when I was younger, but I think when I came to Bucknell I got more into poetry, or spoken word poetry that is. I like to write and listen to a lot of poets because words are very valuable. I’ll perform at poetry slams or at the Solidarity March and that really allows me to establish a voice for my-

self, if not through my fashion then through my words.”

Jahi Omari 2017, “I like to make people laugh because people are really going through things and I feel like making people laugh can help them get a temporary distance from their problems.”

Where do you feel most inspired?

Ella Tazuana Johnson 2017, “For me, over the past 3-4 years, I’ve realized that I’m most inspired when I’m outside of my comfort zone.”

Andranae Nelson 2017, “I would definitely say the church inspires me the most. I grew up in the church and I was blessed to find a church near Bucknell named Freedom Life. Simply reading the word of God, always motivates me to live better and to walk in the path that he has set out for me.

Jahi Omari 2017, “It’s not really a location, but anytime when it’s late at night and I’m talking to someone for four hours straight even if we have a class the next day. Really seeing what’s going on in someone’s mind, really having those sentimental moments with people, inspires me to be more like that person and get different perspectives on issues.”

Amarachi Ekekwe 2018, “I don’t think there is a where but more of a when I feel most inspired. I feel most inspired when I hear someone’s story. I love getting to know people on a deep level and learning about what they have been through in live. I truly believe that everyone has a story and it takes the right person to ask them about and listen to how they have become the person that they are today.”

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hrough each of these testimonies, it is even clearer the impact BSU has had on its members. Although venturing into the unknown and out of one’s comfort zone can be a fruitful endeavor, it is also valuable to find a place where one can be themselves and be expressive. These individuals come together to build a vibrant, diverse organization with a lasting legacy of importance. Fostering originality, recognizing shared experience, and validating each other’s voices can only better the community at large. Let the beautiful dynamics of BSU spread their infectious joy, pride, and power to the rest of the Bucknell campus in hopes that their bonds serve as models of true, genuine connections.

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AD

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MUSIC & FASHION COLLIDE “ Gone are the days of grainy MTV music videos with budget wardrobes and predictable plot lines. Today, fashion and music interlock to capture your attention and appreciation.”

Visual art and fashion have intermixed for centuries, but music has always played the role of the distant cousin. This is changing as the borders between high fashion and music have recently become more transparently permeable. While musicians become increasingly involved with creating new clothing lines and brands, designers and photographers experiment with music videos and iTunes playlists. As lines blur between Vogue editorials and music videos, music artists stray from their stages and recording studios for a seat at the design table.

Perhaps the most well-known, and controversial, artist rising in fashion is Kanye West and his famous Adidas YEEZY collaboration. While he owes his fame to his rapping career, Kanye West’s clothing and sneakers, sold in limited quantities, are highly sought after, “selling out in minutes.” Past YEEZY runway shows, attended

by Anna Wintour and the likes, show West trailblazing a new path for artists in the high fashion world that deviates from the conventional musician-fashion crossover. However, West has not escaped backlash from those in fashion who remain unconvinced that YEEZY is anything more than a musician’s overhyped merchandise sold solely for the name association. Tim Gunn, respected fashion figure and former chair of fashion design at Parsons The New School of Design

said, “I’m totally perplexed about why the fashion industry has not looked at these, frankly, dumb, basic clothes and cried ‘Hoax.’” Despite others’ uncertainties, West has a Ph.D in art from the Art Institute of Chicago and a true self-confidence in his design skills. However, West also acknowledges, “it’s called a brand. That’s why it … works. What’s the difference between the Louis Vuitton wallet and the wallet without that?” Whatever your position on his clothing may be, there is no doubt he is making significant waves in the realm of fashion.

Almost parallel to West teaming up with Adidas, Rihanna’s Fenty X Puma line brought her not only to Paris Fashion Week, but the prestigious Hôtel Salomon de Rothschild which has hosted respected couture shows in past. Rihanna, a singer with a musical background and career similar to West’s, was welcomed into Paris with much less skepticism. Rihanna’s almost seamless assimilation into fashion is hinted at in the attendance of François-Henri Pinault, the chief executive of Kering, which owns Puma, Yves Saint Laurent, and Balenciaga.

While his business interests no doubt make him biased, Pinault’s attendance at the show and encouragement of Fenty X Puma are emblematic of the fashion world’s evolving attitudes toward musicians turned designers.

On the other hand, fashion creators themselves are delving into the music industry. Through film, Kanye West is one of the many artists collaborating with respected fashion photographers and designers to create music videos. Designer Phillip Lim’s elegance translated into the wardrobe of West’s mini-film “Runaway,” while fashion photographers Inez van Lamsweerde and Vinoodh Matadin’s lenses captured the minimalistic “Four Five Seconds” music video. Similarly, Steven Klein expanded beyond his career in fashion photography by directing Lady Gaga’s iconic “Alejandro” music video in 2010. In an interview, Klein said, “I was not thinking in terms [of influences.] I saw it more as a combination of cinema and theater.”Even more recently, Klein directed West’s “Wolves” music video which highlights fashion 24

Photo Courtesy of www.gq.com

and doubles as a Balmain campaign. Oliver Rousteing, Balmain’s creative director, firmly believes music’s ability to communicate across generations, and harmoniously marries West’s heavy beats with the label’s glittering creations throughout the high definition short film. In Rihanna’s “Kiss it Better,” electric guitar intertwines with Craig McDean’s work to create a melodically and optically charged masterpiece. Gone are the days of grainy MTV music videos with budget wardrobes and predictable plot lines. Today, fashion and music interlock to capture your attention and appreciation.

Furthermore, today’s designers use music to add depth to their creations and expand their creativity. For example, iTunes is no longer the platform for just singers and musicians, but a playground open to designers like Alexander Wang. As a new playlist curator for Apple Music, Wang’s playlists yet another dimension to our perception of him and his designs. Alexander Wang’s association with music is nothing new considering his previous work with artists like The Weeknd for their limited edition clothing capsule. Throughout Wang’s designs, hip-hop reverberates beneath the threadwork of his grunge aesthetic: “Throughout the ’90s when I

was in school, growing up in the Bay Area, hip-hop was a big influence for me.” While “AW510’s” California throwbacks are a head nod to Wang’s roots and creative foundations, “WIP (Work in Progress)” fronts his favorite rap from today as current inspirations and sets the scene for future collections. Just as Alexander Wang’s playlist shows the fashion world’s descent into the music industry, “Apple Music Fashion’s” search for designers indicates mutual interest.

There is no doubt that music and design have intermingled for decades, but the recent escalation in collaborations between high fashion creators and musical pioneers hints to a new, artistic hybrid. While movement away from the conventional will always draw critics, growth and change are inevitable characteristics of art.

As time progresses, and music and fashion encourage each other’s evolution, their collaborative natures will hopefully yield creations that transcend the traditional boundaries.

Camille Sommerfield

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B L A N K C A N V A S Amarachi

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Hunter

Michelle 27

Trey Photo courtesy of Puig.com

Christina

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Michelle 29

INKED

DESTIGMATIZING THE ART OF TATTOOS

Photo Courtesy of theweekendtraveler.com

Humans, by nature, are always trying to find new modes of expression and ways to convey their individuality. Many find themselves misunderstood and use avenues like art and writing to reveal something more distinct about themselves. But, what offers a very true expression of self is what someone chooses to coat their body in each day and, in the case of tattoos, forever. When someone inks their skin as a means of altering their original state it is very expository and says something about the individual in their cultural context.

Also, more recently, tattoo artists have become designers in their own right. Many are now famed, gaining a

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lot of traction on Instagram and different social media platforms. Tattoos and their artists are finally becoming normalized, especially among younger generations, and appreciated as the intricate, design oriented art that they are.

Currently, one in five Americans has a tattoo.

This marks a significant increase since the Baby Boomer generation in which they were viewed as taboo in business or corporate environments. Now, tattoos are starting to be considered in the same league as forms of fine art, with a growing number of people willing and interested in incorporating tattoo art into museums alongside

more traditional pieces. The Virginia Museum Of

Fine Art is one institution embracing this inclusion with an exhibition that prompted one of the included artists, Takahiro Kitamura, to say, “If the VMFA is putting us in the same museum as Picassos and

Rembrandts, then I think that’s a pretty good argument that tattoo is an art form.”

Although carrying varying degrees of cultural significance, tattoos are prevalent in most societies and geographic locations. In New Guinea, tattooing is recognized as a part of the transition to adulthood. When skin is too dark for traditional tattooing, scarification is used – a way of pattern creation using scar tissue. This appeal, although not embraced by all, is shared regardless of geographical borders. People from many different backgrounds are interested in the same view: the body as canvas. But, in some places like South Korea, tattoos are illegal and only allowed to be administered by a licensed doctor. There are approximately 20,000 underground tattooists and those that do engage in this craft are part of a youth rebellion, creating their own community within the larger government-sponsored older generation of tattoo condemners. So, in this way, tattoos are even more of an important craft as people are willing to risk serious consequences in order to express themselves and practice this art.

Because the majority has recognized the universal appeal of tattoos, it is no longer looked down upon in many industries. Vancouver based artist Spencer Kovats demonstrated this with his photo endeavor entitled “The Tattoo Project”. In this project, Kovats took side-by-side photos of the same subject, the first of them dressed in clothes that cover their skin and the second dressed in garments that reveal their tattoos. Kovats was one of twelve photographers participating in a larger culminating show at Performance Works in Vancouver. This exercise has been replicated by many and it just goes to show what the new “normal” is. It also reinforces the fact that you never know what is behind the clothing exterior that people use as situation-based armor. This photo endeavor is emblematic of the larger cultural shift that has and continues to occur. Presently, 86% of young profes-

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sionals do not consider piercings or tattoos as a potential deterrent from getting hired. This signifies a substantial perceptual change although overtly visible face and neck tattoos remain widely rejected.

As is with many art forms, there are varying perspectives regarding fame within the industry. Some artists are underground and want to keep their craft private within their intimate circle while others seek international acclaim. Artist Keith “Bang Bang” McCurdy has inked the likes of Rihanna and Justin Bieber and has even released a book entitled “Bang Bang: My Life in Ink”. Large graphic tattoos are quite popular like those by Nikko Hurtado, as are more intricate yet minimalistic ones created by people like Seoeon and JonBoy. Artists like these and many others go by made-up names either to maintain mystique or to try to build a fan base through cult followers. However, because these artists and their works become so notorious, the phenomenon of tattoo copying persists. Many will walk into a shop, bringing a picture, and ask for a replica of something already created. This poses an ethical and moral problem as tattoos are individual works of art. The original designer is the artist of a distinct piece and all those that copy it do not merit the same type of acclaim and recognition.

Tattoos do not serve the same purpose as they did generations ago. They are no longer the important identifiers of race, gender, class, or sexual orientation as they once were, and are now an artistic way of decorating one’s body that is common to people of every background. Tattoos are methods of storytelling and communication explained by tattoo artist Kat Von D when she said, “I am a canvas of my experiences, my story is etched in lines and shading, and you can read it on my arms, my legs my shoulders, and my stomach.” Tattoos are a craft, one only mastered by few, and these artists are just starting to be recognized as such. Due to its permanent nature and great variety, tattoos truly mark the boldest of fashion statements.

Devon Daniusis

Model: Melissa Nelson

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Lazy Sunday

Featuring the work of Sean Gilchrist

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Photo Courtesy of usaartnews.com

HOT OFF THE RUNWAY

In the past, runway shows and the fashion industry maintained an air of mystery that seemed intangible to the general public. Now, due to live-streaming and social media’s broadcast of runway shows, high fashion is becoming increasingly democratized and accessible. Recently, designers are adapting to the new digital era through employing a “see now, buy now” business model. For years Fall/Winter (FW) collections debuted in early spring and were released four months later, but the “see now, buy now” changes this through a direct-to-consumer approach that adapts to our digital age. In perfect synchronization with the last model’s exit from the runway, the designer’s wares are immediately available for purchase online or in stores. While undoubtedly a savvy business approach to our modern world, the debate arises: does wear now fashion sacrifice artistic expression for commercial profit?

Tom Ford is one of the leading designers embracing e-commerce. While Ford’s most recent Spring 2017 Ready-to-Wear collection, models cloaked in dark fabrics and heavy coats spoke to Fall 2016. Unapologetically “see now, buy now,” the entire show was live-streamed and the garments were sold immediately after the show. Earlier this year, Ford said, “In a world that has become increasingly immediate, the current way of showing a collection four months before it is available to customers is an antiquated idea and one that no longer makes sense.” As echoed by Ford’s perspective, our digital world has created a society expectant of instant gratification, and the fashion industry is not exempt. Today, as soon as trends grace the runway they are instantly plastered across Instagram feeds, and thus become outdated before the collections have the chance to be sold in stores. If social media is not to blame, then it is the fast fashion brands who capitalize upon the four month gap between runway display and consumer acquisition.

Wear now fashion starves these threats and maintains design modernity.

However, others argue the rush to produce and sell detracts from fashion’s artistic core and tarnishes it with

commerciality. Fendi released a capsule of key-chains instantly available for purchase, but they kept to tradition regarding their full collection. Pietro Beccari, CEO of Fendi reasoned, “We are not really [embracing the see-now-buynow trend] at the moment because craftsmanship needs respect.” In this way, the quick turnover is a discredit to the thoughtful design and artistic innovation of fashion creators.

Christopher Bailey, Burberry’s chief creative officer and CEO disagrees: “Sometimes people think that just because you can buy immediately, the craftsmanship, the design or the inspiration [is sacrificed]. None of that changes … In fact, I would argue more of it has to go in because you have to tell the story better.” The luxuriousness and emphasis on art in Burberry and Ford’s most recent shows, both of which followed in immediate collection releases, argue “see now, buy now” can both maintain artistic inspiration, as well as close the four month gap where consumers lose interest. Ford’s show elegantly emphasized maturity and subtle glamor alongside performances from Leon Bridges and Alicia Keys. Burberry, on the other hand, hosted an exhibition at their runway show venue the following week to showcase the artisans who collaborated on the luxury brand’s event.

Ultimately, the stance on “see now, buy now” remains largely divided. However, one thing is undoubtedly true: the demographic of those following NYFW and high fashion brands is changing. Perhaps in past the fashion industry’s exclusivity formed allure and intrigue, but in today’s world social media disintegrates the veil shrouding runway shows. According to Bailey, “You can’t take something that is built and designed for the industry, then invite a broader audience and expect the runway system to be the same, because it’s not.” Undeniably there is change afoot, but what remains foggy and unclear is who will adapt to the times and who will remain loyal to tradition.

Camille Sommerfield

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RETROSPECTIVE

Photography by Margot O’Dell Models: Reggie Harris Julieta Robinowitz Andrew Jobling

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Pants from Wilson Ross Rings from Trademarks Antiques

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Pendant Rock Necklace from It’s All About Me

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Appropriation or Appreciation?

Photograph Courtesy of gq.com rainbow faux-dreadlocks tied into a knot on each model’s head. Although ravers and other fringe cultures have appropriated this Rastafarian hairstyle, it is a cultural token for the African-American community. Critics took to Twitter to express their frustration over Jacobs’ use of ‘locs as a fashion accessory, “An unknown black man/woman has dreads it is assumed they smoke and or are unprofessional. Marc Jacobs has a model with dreads its boho chic” . Jacobs countered with claiming these same commenters would not “criticize women of color for straightening their hair”. His response elicited more outrage as commenters explained that black women face pressure to assimilate to dominant beauty standards to avoid discrimination.

The flaw in Jacobs’ argument is that he neglects to consider the different socio-political context of women of color wearing straight hair. In “From Cultural Exchange to Transculturation”, Richard A. Rogers defines “cultural

The fast-paced and ever-evolving nature of the fashion industry puts an increased pressure on designers to remain trendy, yet unique, in a sea of intense competition.

In search of something new, many look to other cultures for fresh inspiration. Cultural appropriation has been in the industry for decades; however, it has made its way to the forefront of controversy in recent years, which can be largely attributed to the rise of social media. At a time, in America, where people’s identities are being shaped and impacted by the current social climate, style has become an even more critical medium of expressing cultural individuality and pride. This shift has brought more debate over how elements of minority cultures are represented in the popular mainstream.

A recent example of this tension is in Marc Jacobs’ Spring 2017 ready-to-wear line at New York Fashion Week. Inspired by rave culture, the colorful looks included

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dominance” as one of the four types of appropriation he explores. It encompasses what differentiates Jacobs’ ‘loc-bearing models and perms on black women. Cultural dominance is “the use of elements of a dominant culture by members of a subordinated culture in a context when the dominant culture has imposed onto the subordinated culture” . As stated in one of the tweets criticizing the designer, there are negative stereotypes associated with African American hairstyles like dreadlocks, cornrows, and even natural hair. Because they do not conform to our traditional standards of beauty, they are deemed unprofessional and shunned from the workplace, hindering the wearer’s chance for employment.

Minorities are also bullied and mocked for their unique hairstyles. In relation to Jacobs’ defense, black women straighten their hair not for purely cosmetic purposes, but because they would face more obstacles and discrimination if they did not.

Marc Jacobs is not the only designer to receive backlash for their attempt on an inspired collection. Givenchy’s Fall 2015 line received mixed reviews on its “Chola Victorian” inspired looks, neglecting to “adequately pay tribute” towards Latina and Black women by “largely ignoring the women who’ve popularized the look you’re riffing” with a majority white cast and crew. Valentino’s Spring 2016 collection’s “wild, tribal Africa” theme received critiques on their non-diverse casting as well. Out of 91 total looks, fewer than 10 black models were casted .

In all of these cases of appropriation, people usually take one of two, distinct sides that exhibit the significant complexities within this issue. There are people, like Jacobs, who argue for freedom of speech and the ability to express oneself through any desired medium, including elements from a culture outside their own. There have also been arguments that cultural appropriation should be seen as a positive move towards diversity by normalizing different cultures in mainstream society. Youtuber “Roaming Millenial” argues “appropriation” is a misleading term that wrongfully implies a culture is exclusively taken when it is being shared . The other side are those who defend the integrity of appropriated cultures. By treating culturally significant clothing as profitable fashion accessories, designers disrespectfully steal those elements without giving proper credit to or receiving permission from their original creators. Minorities are often left frustrated when the same styles they were ostracized

for are suddenly trendy when a designer decides to include them. But is this issue really, for lack of a better phrase, so black and white?

Culture in itself is not a defined entity with clear boundaries to separate one from another. Rather, it is manifested from numerous people through customs, language, the arts and education. We have seen through history how cultures evolve with the changing world. There is no doubt that people are hurt when one’s traditions are taken out of context and used for superficial gains, but can one really give permission for the use of cultural elements? This argument implies there are set infrastructures representing designated groups to authorize fair use of intellectual property. Considering the fact that culture is highly complex and abstract, there is no efficient way of monitoring appropriation. Instead, society should be working towards another type of appropriation defined in Rogers’ work: cultural exchange.

This is the reciprocal practice of culture where all participants are equally engaged in learning . In other words, a true Melting Pot.

Consumers need to remain critical of companies and use cases of appropriation not as opportunities to point fingers, but as a platform upon which to facilitate a meaningful discussion. Fighting over the ownership of cultures only further separates people who need to discuss this issue the most. Designers need to contribute more than a half-hearted shout out and stereotypically designed pieces. If their intentions are truly good, and they want to promote diversity, hiring an all-white staff to represent minority traditions does not accomplish that goal. In 2011, Hermes collaborated with Indian artist, Sunita Kumar, to launch a limited edition line of saris. While it seemed like a simple piece of clothing, the designers did not know the different ways saris could be worn and how long they should make them . Instead of loosely designing based off their idea of a sari, they brought in someone who wears one every day. Including people from those cultures in the process could set an example for others, within the industry and beyond, to follow suit.

Michelle Choe

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Street to Chic

Photo Courtesy of thezoereport.com Presumably the main conversation surround- mercial medium in 1839, solidified a flirtation ing a runway show is about the garments com- between fashion and media. Researcher Nancy ing down the catwalk but, a tangential conversation has erupted: one concerning the style of the show’s spectators. The evolution of fashion photography in regards to these attendees illustrates the prevalence and progression of streetwear style throughout the years. Previously deemed a fleeting trend, streetwear style shows no signs of disappearing anytime soon. The works of several prominent photographers have helped to ensure the continuation of streetwear style, while also solidifying its progression and definition as a subgenre of fashion photography.

In examining the evolution of streetwear photography, one must first acknowledge its origins and history. Prior to the establishment of modern applications such as Instagram and Twitter, print media was the main mode of communication in fashion. The invention of photography in the late 1820s, and its introduction as a com-

Hall-Duncan writes in “Fashion Photography,” that she believes “the earliest fashion images can be traced to Parisian fashion houses in the 1950s and 1860s.” Photography offers the ability to suspend an individual’s present visage and then circulate that style anywhere. This versatility meant that trends could be visually recorded and manifested by individuals globally—thousands of miles from where the images were originally captured. Today’s presence of Instagram, Facebook, Twitter, YouTube, and other applications have made photography the predominant way of transmitting fashion-related content.

Fashion photography initially emerged in magazines like Vogue as representations of glamorous high fashion and luxurious life styles that incited envy in audience members and attempts at replication. This convention of wealthy displays gradually eroded with the ascent of famous photographers who transformed the fashion photog-

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raphy landscape. In 1946, Richard Avedon of Harper’s Bazaar introduced an approach considered avant-garde for its time in challenging traditional style conventions through depictions of activity and spontaneity on the streets of post-war Paris. His most famous pieces, highlighting models’ natural movements, presented fashion in a fresh light by capturing clothing in motion.

This approach contrasted techniques used to capture rigid models in stiff apparel; subjects were accompanied by dramatic lights and intricate sets that formed statuesque scenes. Instead of these overly-calculated works, Avedon shot unique images with a sense of urgency. Some of his famous works include campaigns for Versace and Calvin Klein, for which he helped define a minimalist image, while introducing the world to now famous model Brooke Shields. Avedon was the first major photographer to use models of color. His images incorporated a mix of amateur and professional models to create “fictionalized narratives” in an effort to add lifestyles of glamourous characters to high fashion. “He literally revolutionized the vocabulary of fashion photography,” described MFA Director Malcolm Roger. Deviating from traditional staged images, Avedon’s work depicted an effortless character, however his shoots were extremely planned out and calculated to integrate personality with glamour.

In contrast to Avedon’s more elegant depictions of fashion, the works of the 80’s reflect shifts toward commercialism and a glamorization of sex, through which a grittier style of photography emerged, bringing a greater progression towards modern images of street style grunge. Such images were pioneered in controversial works by artists like Corrine Day, who once shot an image for British Vogue that featured Kate Moss in baggy tights, accentuating her thinness. The shoot was a reaction to the unrealistic glitz that characterized Vogue’s traditional features, but Day’s extreme showing provoked outrage and backlash against the glamorization of eating disorders and hard drug use.

Tabloids drafted phrases like “heroin chic” and “grunge fashion” to describe her raw and edgy style of work. At this time fashion began to promote images like Day’s that documented real life and the brimming societal issues of the time, favoring grunge over glamor. Some real life issues documented include the AIDS crisis, identity politics, and the rise of cocaine abuse. Day was notorious for images showcasing models with smudged makeup, and unkempt hair, embodying the freedom hungry spirit and style of ‘90s youth.

Street fashion photography finally gained recognition as a subgenre of fashion photography with the rise in popularity of famous New York Times photographer Bill Cunningham, credited with the genre’s creation. After his

nearly 40 years with the newspaper, the New York Times stated that he had “turned fashion photography into his own branch of cultural anthropology on the streets of New York, chronicling an era’s ever changing social scene for the New York Times.” By documenting various street trends while riding a bicycle, Cunningham had become such a presence in New York City fashion and culture that in 2009 he was designated a living landmark; the intersection of 57th and Fifth Avenue was renamed the “Bill Cunningham Corner” in his memory. As Anna Wintour stated in a documentary on Cunningham and his work, “we all get dressed for Bill.”

His work focused on “the broader shift away from formality and toward something more diffuse and individualistic,”3 commented the New York Times. The New Yorker described his columns as the city’s unofficial yearbook, “an exuberant, sometimes retroactively embarrassing chronicle of the way we looked.” He maintained two columns for the New York Times, one focused around New York life—the drivers of its social and influential political world, and another focused on shifting trends in how people dressed; both columns serving to address the spectrum of New Yorkers’ identities. His columns portrayed the narrative glamour of Avedon, while encompassing the edgy street grunge of Day. Cunningham focused on the anonymous personal style of regular individuals on the street; he wrote in an essay for The Times, “fashion is as vital and as interesting today as ever. I know what people with a more formal attitude mean when they say they’re horrified by what they see on the street. But fashion is doing its job. It’s mirroring exactly our times.”

Cunningham’s comment that fashion reflects current times radiates through fashion photography—the primary form of communication between the world of elite fashion designers and the world of public consumers.

Contemporary images and photoshoots reflect a maturing culture around fashion. Such culture and style serve as a means to distinguish and express oneself. Movement towards street style photography may have arisen from society’s attraction to the personality offered by the subjects captured. Much of the street’s grunge and effortless aesthetic making its way onto runways and into print ads featured on the pages of publications like Vogue, serves to highlight the simultaneously complimentary and contradictory love affair between high fashion and the street.

Mamta Badlani

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REWIND

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Neutral is Not a Color Photo Courtesy of observer.com

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As Michelle Obama met with the Indian Prime Minister in late 2009, she flaunts a floorlength gown described as “a sterling-silver sequin, abstract floral, nude strapless gown” by designer Naeem Khan 1. The dress, intended to be flesh-colored, was designed to match her natural skin tone but, as The Telegraph and CBS News reported, it did not. Until mid 2015, the Merriam-Webster dictionary defined nude as “relating to nakedness” or “having the color of a white person’s skin” until an Ithaca College sophomore demanded that this inclusive, racist definition be changed. Somewhere between the ‘invisible’ Band-Aids only truly invisible on one single skin tone and a generalization of the color palette of nude in fashion, a roaring controversy has begun to stir. Maybe, a more liberal definition for the word nude is just what the fashion world needs.

Circling back in time to Cairo in the 18th Dynasty, women went about their day in a white linen sheath, essentially a mere shield against the sun that did not bother to hide what was underneath. Renaissance Italy pushed the rise of a rich, power-hungry merchant class whose fashion statement consisted mostly of nudes and pinks that highlighted the beauty of women’s skin and body over the actual clothes that they chose to dress in. Italian artists such as Botticelli from this same era beautified women “in, and on, the flesh itself,” creating art with women in tight, cream-colored gowns that beautified their simple being without the need for fashion to define their beauty.

Then, the fashion of Rococo France made an appearance with a plethora of pastels that were designed to highlight the beauty of natural human complexion. But in history, only one skin color is regarded: that of the majority Caucasian group that has been regarded as “higher” in history. Minority groups are therefore struck again by a disregard for their natural skin tone and a message to mediate something that they cannot change. Natural skin color has always been valued – but only to an extent. When the fashion industry considers skin color, they have failed to consider the variety of “nudes” that exist in the world.

Even the simplest brands slyly maintain a traditional beauty ideal. Crayola has numerous shades of every color, but they chose a light peachy-pink to name “flesh.” Fashion lines, art manufacturers, lingerie companies and cosmetic enterprises alike all promote a light tan, “flesh-colored” color that hardly covers the spectrum of skin colors that represent our country and world. While

a racial undertone can seem unintentional, by using the words nude and flesh-colored to describe clothing and colors that match skin tone, an entire population of skin tone is being disregarded, defining what the enduring traditional ideals of beauty once were. While a nude bra may perfectly match one woman’s skin tone, there are many who do not have the option of purchasing a bra that is their skin tone because there simply are no options4. Nude is not all-inclusive.

Although the negative connotations surrounding the nude color palette has hardly been liberated, Christian Louboutin is one of the first designers to challenge the nude notions of the fashion world. His line is tagged “a nude for every woman,” challenging the idea that nude is just one shade or one skin tone. Rather than just one shade of beige, Louboutin’s line encompasses seven different shades, “ensur[ing] every woman can meet her match” 5.

Louboutin is not the only designer reimagining our society’s classic definition of nude. Buff You Intimates redefines the nature of the lingerie industry, by offering undergarments in four different shades: ginger, hazel, amber and mahogany. The founders strived to create “a modern lingerie line that provide[d] nude tones for women of all colors” 6. Nubian Skin, a worldwide lingerie and hosiery company providing for the needs of woman of color, campaigns for “empowering women embracing [their] color,” offers a variety of options for a large range of skin tones 7. For quick, affordable footwear TKEEs flip-flops have created flip-flops in various shades fit to match women of all skin tones. Creative director Carly Burnett explains the shoe as “just one silhouette, but if you think of going into Sephora, there are so many possibilities and any of them translate well into a flip-flop” 8 Speaking of makeup, dozens of brands are up and coming with options for almost every skin color. Kat Von D’s “Lock-It” foundation comes in thirty-three colors and MAC’s “Fix Fluid” comes in forty-two shades.

Slowly but surely, brands are beginning to bend their goods to fit consumer needs and to appreciate the truly diverse nature of our country and world. It is on fashion designers to universally appreciate the broad range of the color nude and it is companies like these that begin the fight against a fashion world that is not nearly representative enough of our world’s ethnic and racial diversity.

Sara Rukeyser

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FEATURED

Special thanks to Makhmudova a h s a M 60

ARTISTS

Special thanks to Lena Miskulin 61

Citations Street to Chic by Mamta Badlani Quote and source correction- it is 1850s not 1950s and the correct source is in the MLA formatted sources below Sources formatted: Hall-Duncan, Nancy. “Fashion Photography.” The Berg Companion to Fashion. Ed. Valerie Steele. Oxford: Bloomsbury Academic, 2010. Bloomsbury Fashion Central.

Bergeron, Chris. “Richard Avedon: Photographer Changed the Face of Fashion.” Newspaper. The Metrowest Daily News. N.p., 15 Aug. 2015.

“Bill Cunningham: A Legend Who Lives on.” The Elle Diaries. N.p., n.d. Web. 7 Nov. 2016.

Bernstein, Jacob. “Bill Cunningham, Legendary Times Fashion Photographer, Dies at 87.” The New York Times 25 June 2016. NYTimes.com. 7 Nov. 2016.

Collins, Lauren. “Bill Cunningham Takes to the Streets.” The New Yorker. N.p., 16 Mar. 2009.

Appropriation or Appreciation Rogers, Richard A. “From Cultural Exchange to Transculturation: A Review and Reconceptualization of Cultural Appropriation.” Communication Theory 16.4 (2006): 474–503. Print.

Rosenstein, Jenna. “Marc Jacobs Weighs in Again on the Runway Hair Controversy.” Harper’s BAZAAR. N.p., 18 Sept. 2016. 7 Nov. 2016.

Picardi, Phillip. “The Underlying Issue With That Epic Givenchy Show.” Refinery29. N.p., 9 Mar. 2015. 7 Nov. 2016.

Klein, Alyssa Vingan. “Let’s Discuss the Hair at Valentino’s Spring Show - Fashionista.” Fashionista. N.p., 6 Oct. 2015.

7 Nov. 2016.

Roaming Millennial. “HANDS OFF MY CULTURE!” | The Myth of Cultural Appropriation. N.p., 2016. Film. https://www.youtube.com/watch?v=Vh7c7PSVubE Bhattacharya, Suryatapa. “French Fashion House Hermes Takes Aim at Wealthy Indians”. The National World. N.p., 28 Oct. 2011. 7 Nov. 2016.

Neutral is Not a Color Singh, Anita. “Michelle Obama Evening Dress Sparks Race Row over ‘Nude’ Description.” News. The Telegraph.

N.p., 19 May 2010. Web. 7 Nov. 2016.

Wilson, Julee. “‘What’s Your Nude?’ Facebook Campaign, Tara Raines Tackles Lack Of Brown Colored Bras (POLL) | Huffington Post.” News. The Huffington Post. N.p., Jan. 2012. Web. 7 Nov. 2016.

Horsley, Selina. “New Louboutin Nude Line More Than Just A Fashion Statement.” Odyssey. N.p., 11 Apr. 2016. Web. 7 Nov. 2016.

“Buff You Intimates - Change the View on Nude.” Indiegogo. N.p., n.d. Web. 7 Nov. 2016. https://www.nubianskin.com/global/ Jordan. “Creative Director Carly Burnett Talks Tkees.” Footwear News. N.p., 10 Nov. 2011. Web. 7 Nov. 2016.

Hot Off the Runway Mau, Dhani. “Are People Actually Seeing Now and Buying Now?” Fashionista. N.p., 21 Sept. 2016. Web. 7 Nov. 2016.

Chen, Vivian. “How the See-Now-Buy-Now Trend Is Changing the Face of the Fashion Industry.” South China Morning Post. N.p., 6 Oct. 2016. Web. 7 Nov. 2016.

Alleyne, Allyssia. “Burberry Leads Runway Revolution to Help Eager Shoppers.” CNN. N.p., 2 Mar. 2016. Web. 7 Nov. 2016.

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