feverdream (2023)

mission statement

We are Feverdream, not in some sickness induced lack of cohesion but rather for a fervent hope for the future. We understand fashion not just as a code of dress, but rather as a social language and global industry. Which creative minds seek to understand and improve for all who are influenced by it.

We, through our focus on sustainability and social issues, will contextualise fashion and its effects on people and environments all around the world, and more importantly in Leeds.

REJECTION

Models (Top to Bottom, Left to Right) , Jade Clarke, Pablo Gosling, and Director Hepsi, and Photographer Calyn Da Silva

There has always been a significant exploration of gender in fashion, however, this notion of ‘blue being for boys and pink being for girls’ is a societal norm that hasn’t easily been shaken. Before the 20th century, as anyone with enthusiasm for fashion could tell you, these colours weren’t gendered this way. In actuality, pink (a faded shade of red) was often

Lady, Mamie Eisenhower, wore it so much and popularised it to the point it was even called ‘Mamie Pink’. Since this point, ‘gendered colours’ have been uncompromising.

seen as a strong and prominent colour that was associated more with boys. It is suspected that this relation came from the many red military uniforms during this time. In turn, blue was seen as a soft natural colour, something very delicate and feminine. You see, the popularisation of ‘pink for girls’ didn’t really occur until the nineteen fifties when First

Other than it being slightly odd to constrict colours in such a specific manner, it wasn’t the colours that caused the need to reject pink. As always, it was society. Whether through observation or personal experience, we all know that western society’s views on femininity are far from positive. You see, pink wasn’t just a ‘gendered’ colour now, it represented anything and everything feminine, whether it was pink or not. It got to the point that it was seen as degrading and embarrassing to be feminine. Some key examples coming from my own life, as in many points throughout it, I have heard the phrase, ‘You’re not like other girls’, said as an observation of me being seen as ‘cool’ or ‘interesting’. This was never a compliment, but rather a commentary on how negatively being associated with women is viewed.

We have been taught that there is

an embarrassment in being like other women, that femininity is shallow and stupid. We grow up hearing and being forced to learn these hidden messages from such a young age, ‘If you enjoy femininity, there’s nothing more to you than your look’. Femininity is advertised as little more than its face value; just a pretty pink bow.

Who would want to be type-cast as a person who cares more about what’s on their head, than what happens in it?

Nobody wants to be made fun of, or seen as less than others, so many people turn away from femininity in retaliation. Myself included. In the media many of us consumed as children, the heroine of the tale was often a tomboy who didn’t care what others thought, or a modest quiet bookworm who kept to herself, which ended up encouraging our forced preference away from femininity. It didn’t stop there, as the antagonist was also usually portrayed as ‘Miss Popular’ with blonde hair, dressed in pink, her nails done, and outfits well planned out, and so enforces the vilification of femininity. A very calculated presentation of characters that so many young children see.

Regardless of their preferences for pink, the same can be said for many of the Disney films many of us grew up on. These villains were presented with very hyper-feminine visuals, including; the Evil Queen from Snow White, the Queen of Hearts from Alice in Wonderland, Maleficent from Sleeping beauty, Cruella de Vil from 101 Dalmations, Ursula from The Little Mermaid, Mother Gothel from Tangled, the Evil Stepmother from Cinderella, and Yzma from Emperor’s New Groove. The list is endless. Obviously, all these characters were also horrible, and did horrific things, which is why

the colour did nothing wrong, but it has got a lot to answer for

femininity is advertised as little more than its face value; just a pretty pink bow

they were villains. But the common element they all share, is their hyper-femininity. Always wearing obvious makeup, often sporting very feminine silhouettes, and always, always, without a shadow of a doubt, being the villain. There’s no wonder why so many people ‘reject pink’; the colour did nothing wrong, but it has a lot to answer for!

femininity brings me

joy in feeling power controlling my physical presentation a redemption arc of my own

CW: self Harm, suicidal thoughts, disordered eating.

As a student at an arts university I am constantly surrounded by creative innovation. Students left, right and centre making the most of the environment they’re in and pushing the boundaries of their artistic abilities to the max. One of those fantastic individuals is Level 4 Fashion Design BA student Florence Tuppen, better known as Flossie. Flossie started her business ‘fings’ at the start of 2023. It is a crochet line of mittens, scarves, headbands and leg warmers - with much more to come - all handmade, all by herself, with her clever fingers. She learnt how to crochet from her mum, telling me in an interview; ‘I started crocheting during my A levels. Mum has crocheted for years, sitting in front of the telly making a pair of leg warmers or a blanket. She taught me the ins and outs and I then began using it to collate a patchwork dress for my textiles A Level. It wasn’t until more recently that I began doing it for leisure as well.’ The business itself was born out

fings by floss

by maya nagra

of a non-profit Christmas idea; making scarves as gifts. Mostly to relieve the financial stress of being a university student, but also to give the people she cares about something special. And it was full speed ahead from there. Friends quickly started asking for their own special some‘fing’ which sparked the idea that this could become a long term project - and as a student, why turn your nose up at a side hustle? Especially one with so many benefits other than making money. Patience is something I don’t have, and to me the idea of picking up some wool and sitting down freaks me out. However the legend herself told me she had the same problem. ‘I think patience is a massive element of crochet. I have the worst patience known to man, I usually can’t sit still for more than half an hour. Crochet has taught me that patience can

bring beautiful things. I usually rush the things I make, especially in uni; my mindset is get it out of the way so you don’t have to stress over it. Sitting and repeating the same loop over and over, although very calming, can be painstaking for me but it always feels worth it. Especially when you get to see those items on someone else; them loving and choosing to wear and purchase something you made.’ If, like me, crocheting is something you’ve always thought about trying but never got round to, Flossie and her ‘fings’ should be the inspiring nudge you need to get stuck into it. If the outcome is anything as fantastic as ‘fings’ turned out to be, it’s a no brainer. Flossie speaks openly about mental health not only online but dayto-day too. Many of her posts on her social media account for ‘fings’ (@fingsbyfloss) discuss the

benefits that crocheting has on mental health as well as raising general awareness for the cause. ‘Having a task to focus on has been so beneficial for my head, not only just ‘fings’ but crochet as a hobby in general. Many studies have shown the numerous positives to the repetitive movements of crochet or knitting - it’s almost a reliable constant. I’m not sure how to best describe it, but the fact that something so simple can become something so beautiful is very satisfying. Dopamine is the happy hormone that’s released when completing tasks and it allows you to feel motivated. Producing ‘fings’ has 100% given me an access to dopamine.’ Place2Be posted an article in February of last year stating that for staff working in secondary schools, 72% have noticed an increase in self-harm, 61% in suicidal thoughts, and 56% in eating difficulties among pupils. This begs the question, whether educational institutions should start introducing activities like crocheting into the curriculum, or even just give their students the

space and access to those activities. Providing a way of combating the mental health crisis that currently exists in the UK. Flossie mentioned, ‘I definitely think introducing more creative methods of therapeutic interventions are necessary. As much as I advocate [for] and will always praise the benefits of therapy, not everyone takes well to sitting in a room one-on-one, talking deeply about what’s going through their head. Some people require a softer, less invasive approach. Introducing optional clubs, or adding it to the creative curriculum would be hugely beneficial on temper, happiness and drive for life.’ Flossie is someone who has undeservingly felt a lot of pain over the last few years. However, she is also someone who puts that experience towards creating happiness for everyone around her. It goes without saying that these pieces, whether it be mittens, a scarf or (my personal favourite) a fab pair of legwarmers, are made with a copious amount of care and love. That’s one of the reasons why I believe Flossie’s ‘fings’

have been so successful thus far. Having started from small acts of kindness to show those close to her that she appreciates them, it’s no surprise that her ‘fings’ would mirror her love for her friends and family. We are existing in a time where capitalism is unfortunately the fist that rules the majority of our lives. The cost of living crisis has affected many across the UK and it’s more important than ever that we are supporting small, sustainable businesses as much as we can. A little will always go a long way, for Flossie the dream for ‘fings’ is to reach a point where she can ‘have enough income to support [her] favourite mental health charities, especially those that have helped [her] and others close to [her] over the last few years - being able to thank them substantially for that.’ A little will always go a long way. So with that being said, support one of Leeds Art’s finest, and grab your very own ‘fings’ today at @ fingsbyfloss on Instagram - before she takes over the world and you can no longer afford them! (10% off when you buy a bundle.)

Model, Olivia Marple and Photographer, Florence Tuppen

dressing queer

by reed washington

Dress for the job you want, not the job you have and dress for success; both are common mottos on the power of fashion for manifesting success, but how much truth can there be to such claims? How much can a shirt change your day? How can fashion be so powerful?

Fashion’s powers of manifestation are, truthfully, little more than the stuff of legend, though how you dress can influence the way you interact with your surroundings (and how, in turn, they interact with you). Fashion can help us tell people who we are or who we wish to be; the careers we want or the way we want people to look at us. Fashion can also be a way we can align ourselves to or separate ourselves from certain groups or ideals; for queer people, it can be a way to come out to people before we are misgendered (though sometimes it does not make a difference). As a queer person, every time I get ready I wonder, ‘Who am I today?’

This is a practice known in

sociological terms as ‘Selfactualisation’ and it can be defined as ‘the process of growing and fulfilling one’s potential’. For the purpose of queerness, self-actualisation can be better

understood with just the first half of this definition, (‘the process of growing and fulfilling one’s potential.’) Appearance management can be a tool for self-presentation, and, through fashion, we can disguise or disclose our identities to those who see us. Though in no way do queer people owe anyone a ‘disclosure’ of their identity. Digging deeper into this sociological rabbit hole, we see that this idea of ‘disclosure’ goes much deeper than simply gender identity. Tradition has always associated hair colour and texture with personality, especially in women, without any apparent justification. The idea that ‘blondes have more fun’ or how we may assume someone with a richer hair colour might have a stronger personality, while someone with a muted colour would be understated. As anyone who has seen a movie with a makeover scene knows, you aren’t pretty or serious until you straighten your curly hair. There is even the idea about how we prescribe particular colours, prints, and imagery to the sexes as early as possible. I think we‘ve all heard stories about parents getting mad when someone didn’t assume their baby in blue was a boy. There is this expectation that you must understand, all babies are either blue dinosaurs OR pink princesses, boys OR girls. It is in understanding these culturally enforced signals of what our fashion choices mean, that queer people learn to manage what others perceive, and in doing so, align others’ perception with their ‘potential’. While the social language of clothing is far more extensive than, frankly, I care to write about, it can be best seen

in such translations of binarygender. When the intersections of the social rules of fashion and of gender are examined, we can understand the full potential of fashion for self-actualisation and self-presentation.

Gender and fashion have coincided throughout all of history, from ancient cultures when the presence of clothing could be used to denote wealthy men from naked commoners, to centuries when fashions were used to differentiate between men and women. Throughout this history, queerness seems to exist outside the ideas of gendered fashion, while simultaneously being in direct conversation with it, with many famous actors and actresses steering society’s view on fashion. One example being Marlene Dietrich, the old Hollywood starlet and fashion icon of the time, caused quite the controversy appearing in a tailcoat and top hat in 1930. Through both her clothing and her identity her gender expression appealed to women and her sexuality to men. Dietrich wore her queerness in a way that was shocking, and which was distinctly,

fashion becomes a tool to manipulate the presentation of ourselves.

as a queer person, every time I get ready I wonder, ‘Who am I today?’

fidn o u t w ho youare and do it onpurpose’

h u

m p hrey am d e line

simultaneously both male and female.

Similarly, the Glam Rock and Camp cultures of the 60s and 70s, styles which are perhaps the most synonymous with queer fashion in the popular lexicon, became mainstream styles due to the sociopolitical nature of the time. Despite queer fashion and gendered fashion historically having represented the subculture and popular culture respectively, the intersections and communications between these diametrically opposed positions, have largely represented progress in fashion as a whole.

h e p s i

When these ideas of self-actualisation and queerness as a language in fashion converge, we see a magnified representation of the performance of gender. There are many collections of various sociology, feminist writings, and political theory to suggest that even for cisgender women, fashion can be used as a kind of social currency. This often explores the idea that the reclamation of femininity, especially in traditionally masculine or patriarchal spaces, may serve as an assertion of power. Though if you don’t want to bore yourself with an academic text, the film ‘Legally Blonde’ makes the same claim and includes the icon herself Jennifer Coolidge. In that lens, we see that gender is almost satirised, and begin to examine the idea that we all act as image makers in the expression of our own identities.

On the subject of this analogy of image making, we must understand ourselves both subjectively and objectively. Therefore fashion becomes a tool to manipulate the presentation of ourselves.

Gender can often be seen as a social construct, meaning that our experience with appearance as a medium, we can explore our impressions of what it means to be male or female. So, for queer people, we must understand our gender as a part of ourselves, but also our presentations and bodies as an extension of our gender identity. It is, however, important to realise that as queer people, we exist outside these categories of performance. Our ‘heavy penalties’ of existing outside the social boundaries are already and continue to be incurred, regardless of whether we display binary gender or not. Thus, it is often queer people who push the evolution of the status quo of ‘acceptable fashion’. I mean in 2022, many of the trends in men’s street style evolved directly from aesthetics of queer subcultures, particularly skirts, heels, and crop tops on those who identify as male. Among male influencers (both fashion and regular

sam

influencers) being perceived as queer is like a badge of honour, I couldn’t count on two hands the number of times I’ve heard cishet (Cisgender, heterosexual) males on TikTok say, ‘You know your fit is fire when people think you’re gay’. As queer people know, this is not because of some sudden persecution of binary gender, but rather because of the way that queer fashion pushes the envelope of what fashion is, and because of the association with current popular styles and queer identity.

The ‘queering’ of traditional fashion is a function of this relationship between fashion and identity, and can be traced as far back as the history of clothing. We can understand that everyday queer people must decide who they are and how the language of clothing affects how we can be seen as ourselves. We must always find ways to contextualise our ’self’ and display it for others to understand and when, if ever, we may choose to sacrifice identity for comfort and for safety. I want to stress that though we may experience a sense of euphoria when liberating our own expression we must also cope with the weight of constantly pushing against the status quo. Truthfully, though, we speak the same silent language as everyone else in dressing themselves. Queer people must break the cultural standard in order to feel heard, and thus seen. For queer people everyday is, as the Queen of Country Music and performative gender, Dolly Parton says, ‘Find out who you are. And do it on

inna e

Models (Left to Right, Top to Bottom), Humphrey Ward, Sam brown, Madeline Dickie, Annie Judd, Hepsi Nelson and Photographer, Calyn Da Silva and Direction, Reed Washington

exclusively charles jeffrey by hepsi

Though the 10th of March was technically the start of spring, we were startled by the heavy flurries of snow. Luckily enough, we had been blessed by the persistent and determined Mr Charles Jeffrey, who had journeyed the better half of his morning up the length of the country. For those of you who don’t know, he is the founder and creative director of ‘LOVERBOY’, both a fashion brand and creative collective in its own right. I was lucky enough to sit down with him and steal thirty minutes of his time, here is what we discussed.

curious as to the advice that Charles Jeffrey had to keep ourselves supported. He shared that he has experienced burnout quite a bit in the past, through reduced self-care and frequent partying, and recommended ‘allowing yourself to have more energy to pour into more things’. He has managed not to overwork himself, despite all of his endeavours, by allowing rest and rejuvenation for himself and all of his workers as well. Commenting that ‘we’re so organised and on top of it, no one is in the studio after seven o’clock’, which if many of you don’t know, is unprecedented in the fashion industry.

Starting fairly lighthearted, we discussed his clothing, and the reasoning behind it; discovering that he had gained a preference for an indie rock aesthetic and sporting, in his own words, a ‘teddy boy’ look, of skinny jeans, Valentino cardigan, thrifted coat, and LOVERBOY shoes.

The manner in which LOVERBOY started as a business, was not in the most regular way, unless the big fashion houses like Gucci can claim to have been inspired by club nights in London…. Vogue Fabrics in Dalston is a self-described ‘incubator of queer arts and entertainment’ that holds many events, including club nights. One of which Charles Jeffrey, through the help of a friend, managed to be put in charge of. He ‘liked the idea of it being aligned with a Valentino-

Through established boundaries and healthy collaborations, LOVERBOY has become such a wellknown brand since its conception in 2016, this explosion of attention would be a lot for anyone to manage, Jeffrey included. ‘There was a lot of press in the beginning, and we were involved in a documentary too, we were being flown around. It was really fun we ended up partying a lot, so it was a complete whirlwind’, which sounds like a lot to manage, but he mentioned that as his work has continued, he prefers using social media, like Instagram and TikTok because it gives a smaller audience for him to interact with more intimately.

He mentioned that he liked the smaller interactions, as it often allows him to talk more closely with art students he

esque, romantic’ idea, and the name ‘Loverboy, fell out of his mind’. The way most of the best ideas tend to do. I have previously characterised LOVERBOY as a creative collective, as it doesn’t only focus on clothing, but also delves into music and fine art as well. It allows this multifaceted company to explore and combine multiple inventive pathways into a spectacular melting pot of inspiration and craft. For me, there are moments where looking at one art for too long leads to severe burnout (like many university students), and I was

doesn’t mentor. We spoke a lot about the difficulties art students face, and how he understands that as much as the world often gets in our way as creative thinkers, we often do that ourselves too. ‘I found myself getting in my own way a lot, I was terrified of failing’, mentioning that even the costs that it takes to try and make it, create such an inaccessible industry for anyone other than those with more money. As much as this was a very honest and raw conversation, it was relieving to hear someone who is successful, acknowledge these difficulties as well. He

‘nurture that inner urge…. art is like playing’

‘I always see LOVERBOY as superhero clothes.’

clothing ‘is something that gives power to emotion’

hopes that these limitations don’t scare us away too much, on many occasions he has seen many younger artists be too afraid to share and display their own work, even online. ‘Such perfectionists…we want to see your process,’ providing good recommendations that we get out of our own heads, ‘nurture that inner urge….art is like playing’.

This is often portrayed in LOVERBOY as well, there are many pieces of art that Jeffrey creates, whether that is for in-house patterns or personal creations. He started art when he was younger using pens and pencils provided by his mother; who continued to encourage this as he grew up and often reverts to these roots for inspiration of expression. These elements are always embedded within the style of LOVERBOY, using the brand to encourage creative expression, and ‘to give you this energy, joy, and confidence,’.

Identity and projections of that through clothes are always important for many people, clothing ‘ is something that gives power to emotion’. There were many mentions of how clothing is for more than just wearing, it is about the feelings they bring, how they look, and sound, and the worlds you can build out of them. Jeffrey even noted that, ‘When I’m doing the final styling, I think of it as curating them, like instruments or sounds’. If people used their everyday fashion to express their feelings more, I think there would be a lot more joy found through clothing, rather than insecurities, something that is seen a lot through the animal LOVERBOY beanies.

‘I always see LOVERBOY as superhero clothes.’ As much as there is a creative element of loverboy,

there are also a lot of community-based aspects too, the brand has always been a champion of diversity and representation. Though when directly asked about this, Jeffrey mentioned that it wasn’t something that was focused on, more of a norm that they were used to anyway. London is such a multicultural place, and the queer community of which Charles Jeffrey is a part, displays this. Given that this is where the inspiration for his style came from, it makes a lot of sense that there will always be a reminiscence of this in his work. This includes the many occasions that the brand has fundraised for different charities, as well as ensuring direct representation of a variety of people and bodies on the runway. When conceptualising the future of LOVERBOY, this element was something unshiftable for Jeffrey, as it is seen as such a key factor of the brand itself. But he hopes to be able to feature in Paris Fashion Week in the near future, hoping this dream is closer to reality now that they have a bigger market interest.

Before leaving, I asked if he had any advice for readers and art students. He wants to leave us with the reminder that ‘It’s not all bad, there are good people that exist to work alongside’, in regards to both the fashion industry, and life in general. Many people feel discouraged starting in any industry. He encourages us to find internships, make connections, and work our way up. We should ‘find a way to play the game, with our own boundaries intact’.

Seen above Charles Jeffrey and Hepsi

One of the best kick-starters into the new year: the RAG fashion show 2023 emerged with great promise for the future of student innovators in Leeds. The theme for this year? Eudaimonia. What does that mean to us? Eudaimonia is an integral part of history, stemming from the Greek word for the state of happiness, or flourish.

The purpose of ‘mental health’ as a theme this year inspired an incredible performance in which all student creators were united in fashion on stage, with all donations and money made from ticket sales going towards a selection of mental health charities.

The inspiration gave us the chance to delve into the creative minds of the University of Leeds fashion designers, showcasing their take on the five primary emotions we experience as humans. This maelstrom of feelings, was mirrored in the styles, as an introspective into the reality of young lives. The audience was taken on a journey through the most significant aspects of our relationship with the following; Sadness, Lost, Anger, Found and Hope.

Over the course of the show, designers and creators grew increasingly ambitious in their unique vision, unpacking what most fear to go near. In their boldness, a freedom of expression emerged.

The ‘Sadness’ scene began with a pianist walking on stage, placing themselves behind the piano and playing a soft, gothic, melancholic melody. As the tune unfolded, fog followed suit, rolling gently over the stage and trickling across the catwalk. The production team had cleverly incorporated shadow into the opening segment, creating a mysterious mood that had the audience eagerly anticipating the clothes to come. The perfect atmosphere for the first line of clothes.

Leeds what you missed ANGER SADNES S

Models (Top to Bottom, Left to Right) Tanakij (Benz) Jivacharoen, Saba Siddiqui, Diana Lomani, Marcus Andreas, Teddy Ndlovu, Vanel, Alexandra Grace, Ellouise Muller, Dikshant Palikhesigners,

by maya and leila

choices of the wedding guests. The styles were grunge but with subtle accents of ballet core. Victorian corsets were paired seamlessly with ribbons blended nicely with the theatrical makeup applied to look like tears.

Leeds RAG Show ‘23 missed at the ANGER

The motif for this line definitely had a macabre, gothic inspiration.

The backdrop depicted dead flowers falling from the sky - morbid but beautiful. The models broke away from classic catwalk conventions by walking in time to the piano, setting a glacial pace, leaving a lingering presence of this scene’s haunting emotions. It was a risk that didn’t quite land, however the quality of the pieces emerged.

For this scene, we saw lots of lace, florals, extravagant chandelier sleeves and veiling. As well as this, pops of silver featured on accessories alongside stark white tights and Mary Jane flats. If Edward Scissorhands and Kim Kardashian were to have married, this collection would have been an insight into the outfit

For the scene of ‘Lost’, the models walked down the runway with a sense of purpose and a hint of vulnerability, as if they were baring their souls for all to see. The clothing was a mix of dark, moody pieces and bright, bold colours, with each outfit telling a different story. Some looks were layered and textured, with heavy fabrics and intricate details, while others were simpler and more streamlined. There were a few occasions where the models slipped up on their walks, but most carried on as if nothing had happened with a level of professionalism that was admirable.

One of the standout pieces, a dress made from horns, stunned the audience. Other looks featured large fabric hats, curved cuts, long jackets, wavy fabric, dramatic makeup and platform shoes - a staple. As a response to the theme of ‘mental health’ this collection was a poignant reminder of the importance of addressing these issues.

The music was a mix of haunting melodies and electronic beats, the lovechild of a video game score and flute composition, which commanded a sense of focus from the audience who were silent throughout the entire event, captivated by the emotional journey unfolding before them. It was clear that the designers

LOST

and Designers, Harriet Hooper, Catriona Powell, Jess Brodigan & Diana Lomani, Sasha Wilding, Macy Austin, Zoe Brooker, Katie Forsyth, Kelly Ross & Antonia Asoldatova, and Photographer Calyn Da Silva

Tanakij Lomani, Alexandra Palikhesigners,

had poured their hearts and souls into each and every piece, and the models had embraced the theme with courage and grace.

Audacious, fearless and dauntless – to the point of intimidation - the ‘Anger’ collection was a striking portrayal of the emotions that encapsulate true wrath. Models emerged powerful; their steps filled with rage, storming the catwalk, plunging the theme into style with a bold, dark palette, the stage blanketed in red. The spiked hair and chains, an attribute of punk fashion, coupled with anger, conveyed the purposeful feeling of rebellion. At this stage, there is a shift from the melancholy of ‘Sadness’ and ‘Lost’, into the anger of personal experience. The beauty of this is expressed through experimentations with unique cuts, in which pointed spikes, chains and collars, side with the scorching heat of this emotion. The RAG show clearly had a vision making this collection a favourite; an incredible performance if you had the opportunity to have seen it on the runway!

Amongst the unforgettable moments, our favourites included: red leather jackets, graphic trousers and grunge jewellery; torn fabrics, horizontal cuts, and thin knit exposing sweaters; and finally corsets, an homage to Victorian-inspired dresses. The mixture of the ‘Goth-esque’ recounts the historic cultural revolution through fashion from the foundations of restrictive culture and governance. This is the most ambitious fragment of the entire show. To our audience, we’ll say the nihilistic, rebellious approach is in fact not only an attribute to fashion, but to the different lifestyles of youth. We’re proud to have witnessed this in the flesh. Modernity has inspired change, and change revolutionised how we think. ‘Mental health is no longer a word of fear or weakness, we must embrace how we feel and command it,’ proclaim the RAG

show creators. The punk style has resurfaced – a resilience to tradition, and this part of the show was nothing but timeless.

Transcending past ‘Anger’, we are submerged in the next collection: ‘Found’. This was a spectacularly composed performance after the message of previous collections. Set apart from the dominance of the darker themes, birds and daisies surfaced on the screen, soft piano gently fanned across the stage as models wafted to the catwalk. The creators embodied the softness of their pieces, with a pastel palette; soft blues, pinks and whites flourished on stage as models held flowers between their fingers. There was an essence of innocence and freedom, as corsets, chains and collars gave way to free-flowing dresses, silk and ribbons, revealing the path towards transformation, and finally, acceptance.

An attribution to 70s fashion, long bell sleeves, orange sunglasses and rose-gold pinks. Ultimately this collection references the power of this era’s fashion on social change. Models held hands as they floated and twirled down the runway. Their smooth, soft heels and gentle movements were not unlike a dance, encapsulating an ethereal vision throughout the performance. The soft structures of the dresses and necklines allowed for the garments to slip off shoulders, and drift down their waists as they walked, giving the appearance of dreamy clouds of fabric. The audience, truly immersed somewhere in this heavenly sky themselves.

The ‘Hope’ collection, representing peace with oneself, saw models confidently show off their fabrics by waving their arms in the air and posing at the edge of the stage. Figure-hugging silk pieces were a preferred theme by the designers. Expressive sleeves were large and gentle, reminiscent of bridal fabrics and gowns as though a wedding occurred upon the stage before our eyes.

A band plays music in the background as the models walk with smiles, emerging with striking colours and pieces containing ruffles and skirts, all retaining the idea of hope. However the styles ranged from dresses and silk fabrics, to blue robes and bandana tops. This stark contrast seemed out of place in the collection.

Regardless, the scene was refreshing and beautiful, dresses coupled with rhinestones and gems, on the cusp between hope and acceptance. Backless garments convey a comfortable vulnerability, as models emerge with hands on their hips.

‘Found’ and ‘Hope’, the last two performances of the show presented lush, heavenly bodies, their pastel appearances granting a view of the divine feminine in its unveiled form. A silent yet ubiquitous sense of awe veiled the audience. The statement piece of this collection: the delicate silhouette of a pink gown, glowing through the beauty of the dress, electrified the audience to a standing ovation. What more could you ask for to embody the journey of a year of change?

Eudaimo n ai

Models (Top to Bottom, Left to Right)

Yasmin Ramadan, Silvia Kekova, Antonia Isernia,

Yang Liu, Angel, Giselle Vaughan-Smith, and Designers Macy Austin, Eleanor Wylde,

Antonia Isernia & Georgia Rand, Maximilian Raynor, Harriet Hooper, Meg Gardner, and

Photographer Zoe Haythrothwaite

leeds RAG show ‘23 interview

with the organisers

The highlighting of mental health for this year’s RAG show was an important factor for many, the Co-director, Joshua Davies, felt that by publicising such a topic, ‘We wanted to challenge attitudes that believe mental health should be ignored or suppressed’. Although Joshua had modelled in the previous year’s RAG show, so already knew the excitement of an event like this, Co-director Zuzanna Fiedorowicz told us that they both wanted to connect the things they love the most, fashion and arts, to create a platform for young creatives from Leeds to express their emotions. As creative students, it is empowering to know that these opportunities can present themselves, just across the road.

From the outset, the importance of representation has been at the heart of the project. Zuzanna Fiedorowicz told us, ‘The organising committee was a group consisting of individuals from many different countries and cultures. The diversity was one of the most important aspects during our models’ castings. We feel very proud of our models and the level of diversity we managed to showcase.’ Co-Director, Joshua Davies, agreed that, ‘Until we have complete equality, there will always be changes that need to be made. I believe fashion, like any other art form, can be a vessel for activism and challenging the negative aspects of our society.’

Whilst the inclusion of different races and ethnicities, and differently sized bodies is welcomed. It is noted that the exclusion of visibly disabled people in the fashion industry continues, even in this show, and our generation has the opportunity to play a part in representing society as it really exists. Ashita Doshi, Head Stylist said, ‘The fashion industry is slowly opening and pushing away the stigma and set standards. There are still plenty of faux pas occurring still but overall, it is becoming more authentic which is what is needed.’

As a charity event, all of the people involved were volunteers, Co-Director Joshua Davies feels this is an important element of putting on the show, ‘The RAG show will always be unique, as it is a wide-scale show produced collectively by volunteers. We don’t get a single amount of funding, everything we do comes from generous donations and from the willpower of our fundraising efforts.’ The annual RAG Show has previously won awards for ‘Best Event’ (Leeds University Union) and ‘Event of the Year’ (NaSFA

by hepsi

- National Student Fund Raising Association). What is it exactly that puts this event on the map? Joshua Davies said that it, ‘ is being able to produce a beautiful show with a profound message through nothing but hard work, grit and desire to make the world a better place.’

Like many of our readers, we wanted to know some of the behind-the-scenes information about what goes into making a production of this size. Zuzanna Fiedorowicz, Co-Director, told us, ‘It took over six months to produce the show. It would not be possible without a team of over 50 people who worked relentlessly to put together the best show. The main obstacle was definitely the financial crisis and with that, the lack of corporate sponsorship. Still, against all odds, we managed to raise over £21,000 for our chosen charities. For me, it was definitely the best possible way to finish my journey as a University of Leeds student.’

Ashiti Doshi, gave us an insight into the creative process. ‘We started off by setting creative ideas to each theme: how would the overall scene look, what fabrics and colour palettes… It was important to make the creative directors’ vision come to life while also adding our own ideas and execution to it.’ As a result of this preparation, there were many garments and designers’ work that were seen by so many people. When asked about any stand-out designs that left a lasting memory, Head Stylist, Ashita Doshi, said, ‘There are plenty of amazing pieces that showcase the hard work of the designers involved. Though for me: the pink backless dress designed and made by Maximilian Raynor. This dress fits perfectly in the “Hope” scene, bright pink with a flirty, light fabric bringing ideas of liberation and optimism together.’

This final piece embodied the meaning of this show, that no matter all of the loss, frustration, despair, and hurt, we should always leave room for hope. Many of us are finding out just how much work and effort our lives will require, it can and will leave us feeling confused and unsure, but much like this show, it cannot be accomplished alone. Our communities and those around us are our best support in producing the most beautiful of things. Whether that be art, showcasing work, meeting people, learning new things, or even producing a fashion show. You don’t have to look as far as you’d think, sometimes the answer is just across the road.

the show in one word

‘JOURNEY’

Models (Top to Bottom, Left to

land, Teresa Lau, Samya, Fatiya Mohamoud and Designers

Macy Cattermole, Jiawen Xu, Benedetta Lanzione, and 20

Photographers Calyn Da Silva and Zoe Haythrothwaite

behind the sari

by maya nagra

My name is Maya Nagra. I am a mixed-race, young Asian-Latina woman, born and raised in London, England. I have four gay parents; I live in a predominantly white area; the last time I wore a sari was to a funeral six years ago, and we eat more curries from the local take-out place than we make at home. Having a blended ethnic background has always felt distinct to me; the difference between how I view my Spanish side vs my Punjabi side. How I see both of them combined after being born and brought up in the UK. Don’t get me wrong, I haven’t completely abandoned my culture, but it’s safe to say that I know a lot less about my heritage than my skin colour would suggest. However, what has never failed to escape my attention, is the different reactions to traditional Indian dress in the UK today.

Growing up, I split my time between South East London’s Lewisham, where my mums live and the hustle and bustle of Tooting Broadway, where I would spend my weekends with my dads. The difference in

At the market anything goes and nobody cares. If you look hard enough you can see ‘artsy types’ armed with their 35mm cameras, photographing the mundanity of these people’s lives as if it’s high art to be dressed traditionally, as if it’s high art to dare to wear anything other than jeans and a shirt in England. Poverty and exotica are cool in some places, totally unacceptable in others – especially perhaps when they’re too close to home.

We all have preconceptions of a person and the life they lead which are very much based on what they wear. I cannot pretend that I myself am not guilty of stereotyping. I see women in traditional Indian dress and already I know what their houses smell like, what their curtains are made from and what’s in the pan left on the stove for reheating later. Except I don’t know, I assume, and the colour of my skin allows me to. The first time I experienced racism for what I was wearing I was twelve and at my first Sikh funeral. I had a headscarf on and was standing outside the

culture was evident, but not as obvious as it is now. There are Asian communities in Lewisham, however it’s safe to say that the area I live in has been largely consumed by gentrification, with the only remains of the infamous ‘melting pot’ of cultures being found in the owners of my local corner shop. Authentic culture doesn’t seem to be keeping up with the latest trends.

Tooting Broadway however is the same as it’s always been - especially around the markets. Women wearing saris in every cut and colour, bhindi painted onto their foreheads, with children following suit. Mehndi on their arms and families speaking in their mother tongues. Children holding bowls of freshly bought fruit and veg, bangles clinking together melodically as they play tag with their friends.

Gurdwara with my cousin when a car drove past, the occupants spitting at us and shouting ‘Terrorists!’ as they drove away. I was twelve and at a funeral, my first Indian funeral and my first time wearing a headscarf, and even I knew - as if it were built into me - the best way to protect myself was to take it off. The best way to protect myself was to remove my culture.

People think things about you based on what you wear, cultural dress or not. I defend myself, saying, ‘the lack of saris in my wardrobe is a reaction to the severed ties between me and my parents and our extended Indian family’. However, I can’t deny that when I play ‘dress up’ in the silks and the rhinestones we have tucked away in corners of spare rooms, I

Don’t get me wrong, I haven’t completely abandoned my culture, but it’s safe to say that I know a lot less about my heritage than my skin colour would suggest.

Models (Top to Bottom, Left to Right) Maya Nagra and Shreyati Chakraborty, and Director Hepsi, and Photographer Calyn Da Silva

CW: racism + hate crimes.

feel - beautiful. Even though those connections are lost I still love my culture and the clothes that come with it. I’ve learnt over time that my rejection of cultural dress has less to do with the rejection I’ve faced from my family, and more to do with my class. My family isn’t rich, but we identify as middle class. Our social circles reflect this, what we do at the weekends reflects this, and so do our clothes.

If I were to rock up to a social event wearing a sari the looks of surprise wouldn’t be based on their perceptions of cultural dress or when it’s deemed ‘appropriate’ to wear it, but more so based on their perceptions of me. If I grew up in a less affluent area with parents who had different professions would my

their children for succumbing to the influence of the West. For them traditional dress is armour, it’s an act of rebellion in the face of racism; one that screams, ‘We belong here too, and this is what we want to wear whilst doing so!’ And they should; they should scream until their throats burn. But is there not a middle ground?

As outlined in Anthropologistturned-author Phyllida Jay’s book, Inspired By India: How India Transformed Global Design, the West has taken inspiration in countless ways from Indian culture and fashion. Nose rings, hoop earrings, white people sticking bhindi on their foreheads at festivals in an attempt to appear more ‘exotic’. Although

fashion choices be different? If all my parents were Indian, would I dress differently? Can my choices really just stem from my interests and what I like - can one exist without the other?

At the heart of this, undeniably is the fear of racial prejudice. There seems to be a need amongst Asian British citizens, especially young people, to conform to the images of the West out of fear of being victimised by racism, similarly to my experience outside the Gurdwara. We conform to protect ourselves. However, this can’t always be taken as gospel. Don’t get me wrong, this fear is not always the reasoning behind these fashion choices - often children born in the UK to Asian households, are influenced by western culture because it is their culture too, they were born and raised here. It is actually a common occurrence for the reverse to take place. Asian parents scolding

some of these examples could be classified as cultural appropriation, I think there is something in this synthesis of cultures that resonates a lot with the younger members of Asian communities living in the UK. They have the chance to embrace both of their cultures whilst still maintaining an essence of their own personal identity within the realms of fashion.

Stereotypes are going to be around for a long time, they are not easily extinguished. However, there is this growing notion of natural assimilation that promotes cultures working in synthesis with each other to create new concepts of fashion, and that gives me hope. The younger generation is rebelling, not out of anger or defiance but out of an understanding of the growing world and growing ideologies. Fashion is adapting, culture is shifting.

And I think that that’s okay.

Fashion is adapting, culture is shifting. And I think that that’s okay.

Models (Top to Bottom, Left to Right)

Hepsi and Sam Brown, and Director Sam Brown, and Photographer Calyn Da Silva

upcycling

For my brand, Studio Sam Brown, I do a lot of printmaking and develop new patterns to sew clothes by hand; however, another integral part of my process is upcycling. It is a great cost-effective and sustainable way to develop new ideas, as well as create finished wearable garments. Much of the allure of upcycling is the positive contribution to sustainability - the fashion industry is one of the most polluting industries in the world. Therefore upcycling provides a solution, fashion can still progress forwards with new ideas and innovation. We can create new clothes that make people feel good, satisfying the need for the ‘next best thing’. But rather than creating more waste, it is minimising the massive amounts of clothing that get sent straight to landfill when they are no longer trending.

A lot of the beauty comes from the story of the pieces you use.

For example, the asymmetric skirt I created for this shoot was constructed using german military pants manufactured for the American army in the 1960s.

by sam brown

A

lot of the beauty comes from the story of the pieces

The fact that something that was created for use in a war, with hyper-masculine connotation, can be transformed into something that subverts gender roles. A balanced androgynous design that takes cues from both the masculine and feminine sides of fashion.

This idea of exploring the masculinity and femininity of fashion is something that carries throughout my work. In terms

of my personal style, I tend not to acknowledge the gender of a garment. Often fusing pieces from both menswear and womenswear into an outfit, an idea that I want to make more accessible to others and break the stigma surrounding clothing. Rather than going straight from womenswear to menswear, and vice-versa, people can try something that lies somewhere in between, aiding in the exploration of gender expression. It should not be seen as a protest to wear clothes without the concept of gender; it should just be a representation of the wearer, their personality, outlook on life and just for the sheer joy of fashion.

Explore my range of genderneutral and sustainable fashion further, on Instagram and TikTok @studio.sambrown; and if you feel like supporting the brand there are plenty of garments and accessories available to buy on Depop @studiosambrown

@studio.sambrown

Model: Sam Brown

vintage fashion

by

lauren

entwisle

‘Vintage is a term used to describe old clothing made between 40 and 100 years ago.’ - Anna Alves 2022. Consistently, the words ‘vintage’, ‘retro’, and ‘antique’ are words used to describe the age of a piece of clothing. Did you know that for something to be ‘vintage’ it needs to have style elements from those times too?

I started my magical and vibrant vintage journey in 2020 when I started at Leeds Arts University, and I’ve not looked back since! I was finally freed from my toxic relationship with Shein. But let’s be honest, we’re all guilty of supporting fast fashion brands every now and again, because without the knowledge and funds it’s hard to know any better. So, let’s give you the knowledge that you deserve…

5 refreshing reasons why you should shop vintage: self-expression

1. Self-expression - Unlike some brands or trends, vintage has no limits on gender and doesn’t dictate what you should and shouldn’t wear.

2. It’s better quality - Back in the ‘vintage’ era, clothes were made with better materials and fabrics, meaning that you could get more wear out of them. They can also be repaired very easily.

3. Surprisingly, it’s cost effective - Think about how many times you’ve ordered something cheap. That item has lasted you no more than a few events. It has been thrown away after a few washes as the clothing was ruined. Well, buying one item that’s just a little more expensive from a vintage shop will mean that the item will be your lifelong companion.

4. Sustainable success - Your items lasting you forever, will mean that you don’t have to keep buying different products and tossing them into the imprisoning arms of landfill. If you don’t want your item anymore then you can just pass it onto a friend, vintage shop, sell it or even get a fashion designer or tailor to sew it into a new item for you.

5. Get ahead of trends - Many old brands are 27

‘coming back’, such as, Juicy Couture, Ellesse and Fila. For example, I took my mum out to a vintage shop the other week and she said, ‘Ooh that’s coming back in, it used to be popular when I was younger!’

What are your favourite vintage shops in Leeds? l

Here’s my top three favourite vintage shops in Leeds. Go check them out, you won’t regret it!

Cow Vintage - known for taking old items and turning them into new trendy, vintage, fashion pieces.

Vintagebybluecollarboys - this is one of the newest gems in Leeds, filled with 2 floors of vintage delights.

Blue Rinse - repairing, reworking, and recycling. This company also hosts lots of kilo sale events, where you can pay by weight, which is great for getting your money’s worth.

Models (Right to Left), Sienna Barnes, Miranda Giddens, Lauren Entwisle and Photographer, Zoe Haythorthwaite

A designers trip to london

by hepsi and reed

Monday mornings are infamously known for, on the most part, being too exhausting, too early, and too frustrating. Neither of us have been strong fanatics of the concept; ‘before 11am’, so our presence at Leeds train station was begrudging to say the least. There were a few of us, holding heavy eyes, heavier bags overfilled with non-essentials for the next two days, and heavily fuelled with the highest amount of caffeine that the human body can handle. Eventually the rest of our group traipst in through the doors, along with our tutors, and we head on our ‘not-longenough-for-a-good-nap’ train ride to Kings Cross station.

Two hours of crocheting later, we arrived eager to explore (and perhaps more eager to abandon our suitcases in the hotel), and adventure through the city. Our first port of call, the V&A. Beyond simply having some wonderful installations, our reason for visiting was to see ‘The Africa Fashion’ exhibition, which explores the different elements of the fashion, textiles, and photography on the continent. The works span from about the mid-20th century up to contemporary creatives who are still producing art. Many pieces were set on the backdrop of the African independence movement; viewing the ways in which fashion has both impacted, and been impacted by many different nations’ fight for freedom from colonial effects. Artists and designers were seen to develop a distinct style which blended historically African prints and techniques with silhouettes which were simultaneously forced upon, and kept from African

people by colonising nations. This exhibition displayed gorgeous photographs of African people during the 1970s; portraits that not only captured the authentic culture of the time but also social influences which affected African fashion. This exhibition not only featured beautiful displays of African Fashion, on mannequins with all manner of textured hair and protective styles, but also provided us with a window into the humans that wore them, with such descriptive research of each and every garment. There was an admiration in the eyes of all of the guests at this exhibition, whether that be us, those that saw an element of familiarity and home in the garments and displays, or even those who were gaining a window into African ingenuity for the first time.

From there we moved on to the Design Museum to see the exhibition, ‘Objects of Desire: Surrealism in Design’. As we entered the exhibition we were met with neon pink lights coming from panels in the left wall; each of which boasted a different letter, O B J E C T, as we made our way to the entrance, the letters changed in the mirror, floating behind our heads, the letters which had read ‘object’ changed to, D E S I R E. As any surrealist art exhibit should, the displays overwhelmed senses, and confused us with its portrayed concepts; lobster-shaped phones, lip-shaped couches, chandeliers with hair, all manner of pieces which combined unexpected elements. Of course the exhibit included work inspired by well known surrealists like René Margritte and Elsa Schiaparelli, even some works by Salvador

Dali, though it’s likely that this inclusion would inspire outrage from the surrealist school, were any of its members still alive. Nonetheless the combination of clothing, furniture, jewellery, sculptures, and twodimensional artworks were an amazing display of the dream-like yet strikingly human style of surrealism, and it was a great way to end our first day. Our evening was classed as ‘free time’, meaning we could spend it how we liked. We both took alternative routes, with one spending the rest of the night galavanting around London, catching up with friends not seen in far too long; the other treating themself to a show of Cabaret, a decision which made the rest of our travelling party ‘green with envy’ to say the least.

Our second and final day would focus on designer brands and shopping (we are all fashion students after all, and restraint is not in our nature). One short tube ride and we had arrived at our destination, Dover Street Market, a store which boasts 5 floors of designer brands so exclusive we were only allowed to take pictures of displays from a distance (though the brave amongst us took security’s various warnings as a challenge and photographed whatever they liked). Though, technically, our trip to Dover Street was to conduct primary research for our next brief, we used it more as an opportunity to discover new brands and, for those of us whose budget allowed it, to pick up some new designer items.

Finally, we made our way to the highly anticipated Alexander McQueen exhibition. We had the privilege to have insight into perhaps one of the most influential design houses of this generation, from the dark and edgy works done under Alexander McQueen’s direction to the empowered and highly referential pieces released under Sarah Burton. As fashion students we all jumped at the chance to visit the flagship boutique on Old Bond Street, even just for the chance to see the retail space, luckily we were able to receive a private tour of the exhibition space on the top floor. Displayed inside were an array of garments, from 1999 to the Rose Collection of Autumn/Winter 2019, with many ‘fun facts’ for us to discover. We were first guided through Burton’s A/W 2019 Rose cCollection, introduced to the reverse pintucked bodices and the design development that went into all the decisions that made up the garments. The main event (Queen of Roses) is an Elizabethan inspired garment with a beautiful standing neck ruff, it was originally supposed to be self-standing as the

however it was so large that it had been fully boned to keep it stood up. Burton combined all of these elements to tell a story of strength, resilience, and femininity, which comes through as you look at the rest of the collection and its various interpretations of the hand-draped rose.

We then moved on to the ‘Sarabande’ dress, stopping to examine the true beauty of the gown. In 2007 the dress was covered entirely with fresh flowers applied a short hour before the runway show and the flowers then draped in a layer of tulle. This collection focused on nature, beauty, life, and inevitable decay, so moments before the model walked Lee (Creative Director at the time) took a pair of scissors and removed the tulle to allow the flowers to breathe. This meant that the flowers were no longer secure, and as it made its way down the runway the music changed suddenly and flowers began to fall off the dress. The other dresses in the ‘Sarabande’ collection on display were made with silk petals all hand dyed with various english teas, over time the colours achieved by the tea have darkened and distorted furthering the concept of decay in a way that had not originally been conceptualised.

The final section of the exhibition space really focused on how McQueen as a brand frequently focuses on self-referential design, beginning with the Spring/ Summer 1999 Burlap couture gown which was hand moulded onto a model’s body while it was wet and then hand embroidered. A concept revisited later by the brand in 2018. The final two pieces we saw were from Burton’s Spring/Summer 2013 collection, once again drawing inspiration from the beauty and fragility of nature; this collection focused on the importance of bees for supporting the global ecosystem. The first dress featured a bejewelled bee textile created specially for this collection, a fit-andflare silhouette achieved with a honeycomb smoking, and of course, to bring in some of the signature McQueen edge, a corset made of a transparent tortoise-shell plastic which had the appearance of being made of honey. The final piece being the 28th look from that collection; a gown covered in hand cast gold bees, with a cage skirt reminiscent of the shape of a beehive, and a mask which was hand beaded in a golden honeycomb pattern and resembled the mask of a beekeeper. This visit to the McQueen exhibition space gave an irreplaceable insight into the creative process and collaborative spirit that go into creating every McQueen collection. What an inspiring trip!

Photograper Hepsi

london to leeds

a fashion outlook by

leila alahmar

I’d travelled a great distance for my degree, from the big city of London to the much smaller uni city of Leeds, and have discovered just how different these two cities could be. And no, I’m not talking about the weather in the north, which consists of some mixture of misfortunes; rain, grey skies and dark clouds or some otherwise gloomy clime. Instead, what has emerged from my journey here, is just how drastically fashions can change in 215 miles. Vintage shopping, visiting local charity shops and buying self-made items are things I’d often heard of, but never partaken in. Strangely enough, in Leeds, these are more popular than ever. Within our own university, there is a vast culture of fashion that flourishes, far from the grappling claws of the high street that has total control over our current cultural landscape. It is a lifestyle that every student in Leeds can become a part of.

Like any art school, it can be expected that the students at Leeds are not afraid of drawing attention. Bright colours, vintage fur, leather jackets, long skirts and crocheted mittens are among some of the vast arrays of styles you can spot. I would guarantee that, if you stopped to ask anyone you passed in the hall where they got their clothes from, the answer would be some rendition of ‘I thrifted it’.

I’d noticed this was a persistent pattern amongst the friends I’d made here; debating where the best prices are, boasting the trendiest items they can find, and arranging places to meet up and shop together. Even at times my friends would swap phones to show their favourite lists on Depop or Ebay or whatever buy and sell retailer caught their fancy. Admittedly, it’s not as easy as you’d suspect, finding pieces you’d like in the right style, it takes a lot of effort. At times items sellout, meaning you have to use ultra-specific keywords to find clothing remotely close to your ideal pieces. Finding anything feels more like a relief than a bargain. Perhaps this is why most people find themselves drawn to fast fashion.

My friends in London would agree without question. ‘It’s easy,’ says 20-year-old West Londoner, Alice, ‘I’ve lived in London all my life and have always been satisfied with what I’d find in H&M and Urban Outfitters. I barely know how to use Depop, and it seems like it will take too long to find anything in a charity shop.’ Another friend of mine chimes in to say, ‘Yeah, honestly, I think it’s way too hard to find anything that I like. Also, when I order something from big fashion houses, I can easily get next day delivery, and find it on my doorstep the next morning.’ They aren’t wrong, fast fashion is what it says; it’s fast, it’s on trend, and you know what you get when you buy it. There are countless duplicates of any one item all over the world. So you never find yourself worrying about the item selling out, it will always be back in stock within a fortnight.

Readers from Leeds may be wondering, ‘What is ‘unique’ to Londoners about buying second hand?’

The truth is the London youth are wondering the opposite. The same outfits were seen on everyone; these brands dominated the scene, and it became quite mundane to watch. Even still, if I’d seen someone wearing something I liked, I know that I could buy it the next day and get bored with it after a month. Exactly the same as everyone else. This is because, in truth, fast fashion is made to be thrown away.

Fast fashion is designed to reflect a current trend, imitate it, and once that trend has passed, replace it. In a 2020 article by Greenpeace titled, ‘The UK’s fast fashion habit is getting worse,’ Abelvik-Lawson wrote, ‘The problem is the sheer waste, over-consumption of resources and poor quality within the industry continuing with figures that show at least “300,000 tonnes of used clothes are burned or buried in landfill each year.”’ Now, thinking of London’s contribution to this, this information can be devastating, but you would be pleased to know that this may not be the case everywhere.

Some argue the part of London you visit may differ in terms of style and sustainability from their sistering parts, as my perspective had been solely from West London. From another Londoner’s perspective, 20-year-old Maya says, “In South East London, a lot of shopping is done online, but a majority of it is second hand,” she continues about specific styles seen amongst men in her area, ‘They wear a lot of clothes from in-store shopping, things like North-Face jackets, but they’re worn for a very long time, or they receive them second hand.’ This is a pleasant change from the day-to-day styles of West London; however, Maya still recognises that Leeds managed to greatly outnumber what she’s already seen. ‘To be honest, it’s different here. Leeds is way more progressive compared to London.’

There isn’t only one way to access something second-hand anymore, you don’t have to search for too long if you don’t have the time, it’s easy to access online with apps and websites such as eBay, Etsy, Depop and Vinted. Your searches and suggested items are filtered and crafted to your liking, like any other shopping website, except for the added perk of being cheaper, unique and at times even handmade! Ultimately, everyone’s experiences are different. Fast fashion is more and more a thing of the past, whilst second-hand shopping is growing to become a thing of the future, or as we can see in Leeds, the present. The future of London still remains a mystery, all we know for sure, is that it has a lot to learn, and just maybe it is about time for Leeds to teach it.

fashion illustration

a showcase

Illustrations by daisy budianta

Fashion illustrations develop and finalise designs, and are vital to the fashion design degree. There are many creative perspectives that are encouraged within our university, all of them vital to the formative process, Daisy and Vicky were kind enough to lend us insight into their works.

Illustrations by vicky worsnop

fashion collaboration

LAU fashion design x fashion photography

Through our focus on sustainability in fashion, firstyear fashion design, and fashion photography students collaborated on a project involving the recycling of fabric waste from garment prototypes. Resulting in the reimagining of them in a contemporary way through studio photography. We hope that as well as fostering inter-course relationships, it will help to encourage the way that the next generations look at fashion and the industry itself, to be supporting and nurturing of the planet.

Models (Top to Bottom, Left to Right)Hepsi,

Demi Rostron and Designers Cara Murphy,

Hepsi, Demi Rostron, and Photographers

Charlie O’Neill, Libby Forster

Sleepless nights, copious amounts of caffeine and immeasurable persistence are the driving force behind this, the first edition, of the feverdream magazine.

Arriving this year as freshers and ending as Co-Editors-in-Chief has been an absolute, well, Feverdream. We are so honoured to have worked with our amazing society and to have the ability to present their stories to you. Our articles range from vintage clothing, to gender expression, to an interview with LOVERBOY’s own Charles Jeffery, and with each article an impressive set of images captured by our photographers collective.

It has been a privilege being able to create this, and we are incredibly proud to present the debut edition of feverdream magazine!

Cal and Hepsi, Editors-in-Chief

Model Hepsi, and Designer Hepsi and Sam Brown, and Director Reed Washington, and Photographer Calyn Da Silva