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THE FASHION MAGAZINE OF WSU THEPREMIER PREMIER FASHION MAGAZINE
OF WSU
T H E I M M O RTA L I SS U E
tents 3 NUCLEAR FAMILY
Revenge of the American Housewife
7 HAUS OF LUXE Featuring local drag artists Aquasha DeLusty and Miss Faye
10 Y2K
Like, Totally
12 DESIGNER SHOWCASE Charlie Stockbridge
L U X E M A GAZ I N E S P R I N G / S U M M E R 2 021 LUXE magazine is a student-run editorial publication focusing on fashion, lifestyle, and culture, produced at Washington State University. All content is created by students across varying disciplines of study. L E T T E R F R O M T H E E D I TO R
Serving as the Executive Editor of LUXE Magazine for the 2020-21 year was wrought with mental challenges and roadblocks. Stuck in the middle of a global pandemic with mounting cultural and political strife, I knew I that I needed to curate a magazine that brought attention to the intimidating realities that we face while allowing our members — Washington State University students — to express their creativity without hesitation or fear. I have held various positions of leadership before, but none that truly humbled me as much as this one did. I cannot thank my team enough for pouring their hearts and souls into their projects, tackling issues of race, gender and sexuality, leading us in a direction that stays true to the ethos of LUXE while broadening our scope and impact on the world around us. This edition of LUXE is bigger than it ever has been before, and without the support of my team, none of this would have been possible.
Jansen Garside
E X E C U T I V E E D I TO R
18 REVOLVER
Local Vintage Shopping
23 TELFAR CLEMENS
Rise of the Bushwick Birkin
27 OH, BOY!
Boys, Boys, Boys!
31 MUTHALAND Roots of Fashion
EDITORIAL TEAM EXECUTIVE EDITOR Jansen Garside
JUNIOR EXECUTIVE EDITOR Jessica Parsons
PHOTO EDITOR Shane Petrus
JUNIOR PHOTO EDITOR Nicole Homeyer
COPY EDITOR Mikayla Makle
EXECUTIVE ASSISTANT Sophia McMaster
FACULTY ADVISOR Xingqiu Lou
LAYOUT DESIGN Jessica Parsons
CONTRIBUTORS | Shelby Smith, Veronica Briggs, Vonnai Phair, Ellie Erickson, Hannah Hughes, Chelsea Branom, Lawrence Sinclair, Emily Lam
photo by Jessica Parsons
nuclear family REVENGE OF THE AMERICAN HOUSEWIFE
A modern twist on the traditional American familial structure, ‘Nuclear Family’ brings more power to the woman. Pulling primarily from 1950s-’60s fashion, this spread incorporates modernized elements of mid-century fashion that illuminates a classic, dark tale. The nuclear family structure has been in place since pre-war America, and it has solidified social constructs surrounding gender roles, sexuality, and culture. This piece recognizes the prevalence of social norms on the familial structure and defies it, poisoning any sense of what used to be known as "tradition." In the sense of what it means to be "nuclear," these photos flip the domestic housewife trope onto the husband, destroying any semblance of traditional structures and reflecting on the power of being the mistress of the house. Homemakers of today are tired of having to abide by an outdated code of conduct, and they are fighting for a newfound freedom. ‘Nuclear Family’ defies established gender norms and societal standards of a bygone era.
written by Shane Petrus photographed by Jessica Parsons creative direction & styling: Shane Petrus | makeup: Jessica Parsons | models: Sophia McMaster & Mark Findlay | set assistance: Jansen Garside 3
haus of luxe
BRINGING UNDERGROUND CULTURE TO THE LIGHT OF DAY Alternative culture has been diverse in its expression of fashion throughout the decades. The introduction of the Punk scene in the 1970s pioneered alternative fashion. Since then, styles such as "goth," "emo," "scene," and their adjacent subcultures have all developed squarely rooted in creative expression. However, media representation of these subcultures often portrays them as palewhite femmes in dark, edgy clothing. This depiction is inaccurate and harmful to the members of these subcultures who do not align with this identity. BIPOC (Black, Indigenous, and People of Color), masculine, feminine and nonbinary people are all members of the alternative community, and this shoot was aimed to illustrate that. Dea, our femme model exhibited a dark and romantic goth style while our masculine model, Brandon, presented the more traditional stance in alternative fashion with the Punk style; two different forms of fashion that have stemmed from the Punk scene of the ‘70s. A highlight of alternative culture is The Ball; the underground LGBTQ+ scene of
NYC that was the epicenter of fashion, expression, family, and cultural nuances in the 1980s. Ballroom culture has evolved from being just a performance stage into a safe-haven for Black and Brown individuals that has safely allowed them to be their most authentic selves. Trans women had a platform to be seen and heard, families-of-choice were created, and history was made. Trends in fashion, music, dance and colloquialisms that we see and use today have been greatly inspired by Ballroom culture, specifically by the Black and Brown individuals that are still pioneering this subculture today. The Ballroom scene created a more diverse appreciation and participation between cultural groups, which is what this shoot embodies. We sought to capture the creative androgyny of fashion and theatrics which drag mother Aquasha DeLusty and Miss Faye embody. To be in Ballroom culture is to cultivate a chosen family with a nuanced appreciation for and ability to use the differences inherent to us all to empower one-another — a lesson we can all learn from.
written by Mikayla Makle & Shelby Smith photographed by Veronica Briggs
creative direction & styling: Mikayla Makle & Shelby Smith makeup: Miss Faye, Aquasha DeLusty, & Mikayla Makle models: Aquasha DeLusty, Miss Faye, Brandon Lopez, & Dea Whitley
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Teen fashion in the early 2000s was led by Juicy Couture, Baby Phat tracksuits, Apple Bottom low rise jeans and more — all inspired by iconic pieces of culture like the 1995 movie "Clueless," and Bratz dolls which made the 2000s a quintessential era in modern fashion. Since then, some of the brands and styles of this era are making a comeback. The nature of cyclical fashion refers to the reoccurrence or reintroduction of fashionable styles and trends from earlier periods. Y2K fashion and themes are making a comeback while being modernized for contemporary fashion standards. written by Mikayla Makle | photographed & styled by Emily Lam | collages by Nicole Homeyer
designer showcase
interview & photographs by Jansen Garside
SENIOR DESIGNER CHARLIE STOCKBRIDGE SHARES ABOUT HIS CAPSTONE COLLECTION
Q: Where did you look for inspiration when designing this collection? A: The core aesthetic is a reflection of me and my design taste – what's appealing to my eye. But more specifically, regarding individual garments, I was inspired by uniforms. Whether it be a firefighter, chef, or lifeguard, uniforms are designed to make that job easier. There are garments in the collection inspired by military liners, waiters' aprons, and painters' pants. I didn't like the fact that designers or patternmakers who work in the studio don't have a real "uniform," and that's what inspired the studio vest.
Q: Why is functional fashion important to you? A: Functionality, again, I think reflects me and my personality. I like to think I'm a very logical person, so I see fashion as more of a tool than as something only for adornment. People talk about fashion being our second skin, a skin that you can choose. And if I had the choice, my skin would have an absurd amount of pockets so I never lose anything. A waterproof finish or an extra pocket has never hurt anyone, but it has saved people from getting drenched in the rain or losing their wallet. The key is to make functionality attractive and stylish without it being the sole aesthetic of the garment or collection. I tried to do that here, but I will continue to work towards it in the future.
Q: Your collection utilizes recycled fabrics & natural dying techniques; how do you see sustainability leading fashion in the future? What impact do you hope to make? 12
A: There are many layers to sustainability. A kid like me choosing to make 15 one-off, sustainably-made garments is the thinnest layer. If a fast fashion brand is ordering 100,000 units of a t-shirt, now, that matters whether the t-shirt is sustainable or not. Currently the big brands of the world don't care about sustainability as long as products are selling and money is being made. To that I see two possible solutions. The first is consumers as a whole shift their priorities towards sustainability and transparency, and the big brands will shift in alignment, because that's where the money will be – which is a fairly capitalistic approach to sustainability. I, however, don't think that will happen until the entire world is "developed," which won't be in my lifetime. The second and more realistic approach, in my opinion, is a change in priorities coming from inside the fashion industry. That is something I can do. As the new generation of designers come in and the old are pushed out, we can hope that the creative/design direction is one that includes sustainability. Personally, I'm optimistic. It seems it's very rare to find a young designer, here at WSU or anywhere, that doesn't think sustainability needs to be a bigger focus in the industry. Right now it's just conversations about hypotheticals, but once this generation is in positions of power in the industry, I think real change will be made. Although, don't let that be an excuse not to consume sustainably! Please, do your research before you consume. Either consume ethically & sustainably or don't consume at all. There's already enough clothes in the world for everyone to have more than enough. You don't need that $6 top from Shein made from a 13 year old girl with a work-related respiratory infection!
Revolver
LOCAL VINTAGE BOUTIQUE PROVIDES SUSTAINABLE ST YLE OPTIONS FOR STUDENTS In the heart of Moscow, Idaho, sits a colorful, exciting vintage store called Revolver. Filled with jewelry made by local artists, shelves lined with vinyl records, and extensive racks of wellloved, one-of-a-kind attire, Revolver offers a popular vintage shopping spot for college students living in either Moscow or Pullman. As younger people become educated on the issue of climate change and all that contributes to it, many have shifted to secondhand shopping rather than purchasing new articles of clothing. Fashion is always cycling; so, for example, it might be cheaper to find a ‘90s-style skirt donated from someone’s closet that ended up at your local thrift shop. “Thrifting is making people more aware of where clothes come from,” said Courtney Siebken, owner of Revolver. “Not buying brand new stuff means [they] can buy more affordable secondhand [clothing] that is less expensive.” Fast fashion is often regarded as disposable, as customers can buy many articles of clothing for just a few dollars each, wear them once, and forget them. This issue is causing irreversible harm to the planet; millions of tons of clothing and textile waste are thrown away annually. High school and college students’ interest in thrifting not only gives an opportunity for small businesses to thrive, but also keeps trash out of landfills.
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written by Nicole Homeyer photographed by Jessica Parsons creative direction & styling: Nicole Homeyer models: Emily Koszarek & Mikayla Makle
now trending: Telfar RISE OF THE 'BUSHWICK BIRKIN'
Telfar, the luxury fashion label birthed in New York City in 2005, offers avantgarde unisex garments which were made to be accessed by everyone. LiberianAmerican designer Telfar Clemens sought to create a luxury brand that cultivated an inclusive community, inspiring the brand’s famous motto, “It’s not for you — it’s for everyone.” The brand markets an array of garments inspired by an avant-garde approach to sportswear, but is most famously known for their vegan leather handbags, often termed the “Bushwick Birkin.” Telfar offers these bags in a variety of different colors and sizes, making them the functional and stylish “it” bag of today. Telfar’s uniquely accessible approach to high fashion has resulted in extraordinarily high demand among their customer base, with each restock of their signature handbags selling out within minutes. In response to such demand, the brand developed a bag security program wherein consumers may pre-order any bag of their choice with the guarantee that they will receive their coveted product at
a later date. The bag security program sparked controversy amongst resellers who had quickly set their sights on Telfar as the next lucrative trend in resale markups, attempting to turn a profit by price gouging the brand’s distinctively low retail prices. The culture of reselling threatens Telfar’s very message of acting against the exclusionary nature of high fashion. Limiting resellers’ ability to overcharge was necessary in maintaining the integrity of the brand’s mission. Telfar’s inclusivity is rooted in its involvement with the queer/multiracial creative underground in New York City. Since its launch in 2005, the brand has been awarded grants from the CFDA/ Vogue Fashion Fund, and additionally released a capsule collection with White Castle whose proceeds contributed to bailing out minors incarcerated at Rikers Island. Looking ahead to what an inclusive fashion industry may someday look like, Telfar continually sets the standard.
written by Veronica Briggs photographed by Veronica Briggs creative direction & styling: Veronica Briggs model: Juan Antonio 23
oh, boy!
G E N Z TA K E S O N G E N D E R N O R MS I N M E N ' S FAS H I O N A certain androgyny has progressively encapsulated fashion over the past few years, with the lines between feminine and masculine clothing growing blurrier. As ideals and values of societies across the globe continue to evolve, the definition of gender and the stereotypes therein are also transforming. Today more than ever, society accepts gender diversity and challenges the boundaries of traditional gender norms. This photoshoot represents a lot of things, but foremost it serves as an ode to the authentic people who have blurred the lines for years, paving a path for today. Without the influence of figures like Prince, Little Richard, David Bowie, and more recently Harry Styles, the ideas embraced now as inclusive and open-minded may have faced a more negative opposition. Makeup – a traditionally feminine product – has been transformed into art and paired with an ensemble of pearls and gems. Light pastels and saturated hues flirt naturally,
creating two soft vintage-inspired looks with entirely thrifted garments. The use of delicate floral embroidery makes a bold statement, but also carries with it a delicate mannerism atop the heavy, fitted coat. One might envision a pastel blazer as part of the ever-so-classic women’s power suit, but in powder blue, draped over a man’s frame, it leaves a soft and playful touch. High-waisted teal trousers were popular amongst moms in the '80s, and they have come back to be suited on feminine men in the 2020s. Generation Z has even brought pearls back from the roaring '20s, rising to popularity again for their delicate and luxurious aura. The youth has begun a cultural reset, paving the way for a genderless narrative through clothing and accessories. So what if a boy wears eyeliner and paints his nails? Living true to oneself requires a courageous spirit. As we continue to make space for all expressions of self, we can celebrate the humanity in us all.
written by Vonnai Phair photographed by Shane Petrus creative direction & styling: Ellie Erickson & Vonnai Phair makeup: Ellie Erickson & Vonnai Phair model: Chance Sands & Trey DeTolla 27
muthaland
AN HOMAGE TO FASHION TRENDS ROOTED IN BLACK CULTURE The fashion industry is a multifaceted array of aesthetics, trends, and designs, that become stylistically interpretive. Inspiration in fashion comparatively stems from visual components of societal nuances, however, we do not readily discuss and show appreciation for the cultural influence that drives the fashion industry. Black culture and fashion has inspired both ready-towear and high fashion trends for decades. Many of the trends that are prevalent today have drawn from Black American, African, and Caribbean fashions that extend to modes of diverse creativity. Black culture is abundant in its contributions to the cultural nuances in history, entertainment, and fashion. Black fashion transcends normalcy and exhibits distinct stylistic elements. Creative mediums such as hair, cosmetology, fashion, and accessories have allowed Black people the creative freedom of expression as the a means to break away from the historical concepts of Euro-centric beauty standards. Black people have experienced exponential growth through cultural nuances, and have since continued to set the standard. This shoot showcases the diversity that Black culture and
written by Mikayla Makle photographed by Veronica Briggs creative direction & styling: Mikayla Makle models: Shanelle Brown & Aaron Obiya
fashion exhibits, but it is developed with an atypical analogy. The decision to shoot at A Modern Plantsman, a local plant shop in Colfax, WA, was pursuant to the narrative of paying homage to the roots of fashion. The exhibition of the growth and prosperity of Black culture is metaphorically attributed to the plants that we add to, take from, and admire. The juxtaposition of the styling for both of the models was intentionally applied. The monochrome color palette contributes to the juxtaposing style elements. Shanelle Brown, our female model, is exhibiting the sophisticated and bourgeois approach to fashion that Black people are rarely portrayed in. Aaron Obiya, our male model, contrasts Shanelle with the urban style of clothing that Black people continue to revolutionize. These styling techniques consider perceptions of unique trends that classify the experience of Black culture and its development. The inclusion of the black and white Telfar bags, by Black owner/ designer Telfar Clemens, marries the concept of urban sophistication, and serves as a necessary reminder of growth and Black excellence. Inspiration will always find its way; the standard remains at home.
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