METHOD SEVEN MAGAZINE
TRANSCENDENCE
DREAM LAND Photography Tanya Ruiz Styling Victor Ramirez
Shorts & Blazer from Nasty Gal METHOD SEVEN MAGAZINE | page 2
Coats, oil spill top & pink pants from Nasty Gal, leggings from Dillard’s at Vista Ridge Mall METHOD SEVEN MAGAZINE | page 4
Dress from Circa 77
Pants from Dillard’s at Vista Ridge Mall, metallic top from Nasty Gal, shirt from H&M METHOD SEVEN MAGAZINE | page 6
Silver skirt from Circa 77, star sweater from Dillard’s at Vista Ridge Mall, hologram skirt & hat from Nasty Gal.
Coat & pants from Nasty Gal | Hair and Makeup Ashley Whitby | Models Brianne Jarvis and Brittany Flurry METHOD SEVEN MAGAZINE | page 8
TABLE OF CONTENTS METHOD SEVEN MAGAZINE | ISSUE NO. 4
EDITORIALS DREAMLAND LAYERED LA ROSE
01
13 18
PROJECTION
25
SOFTLY SATURATED THE IN CROWD
37
WALK THE LINE
49
SHEER VAN GAUZY BLEACHED OUT WARRIOR
21
VINCIT OMNIA VERITAS 55
71
SIGN OF THE TIMES 83
43
BEAUTY THROUGH THE AGES MODEL CITIZEN
75
89
ARTICLES GENERATION ME
65
BREAKING THROUGH FLYGIRLS
31
81
61
Dress from Kate Spade for Nordstrom, shoes from Dolce Vita for Nordstrom | Cover: Jacket & top from Nordstrom, pants from Marc Jacobs for Nordstrom
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METHOD SEVEN MAGAZINE Editorial Board & Team Listing EDITOR IN CHIEF Adriana Solis EXECUTIVE EDITOR Jordan Mills CREATIVE DIRECTOR Alberto Alvarez FASHION DIRECTOR Meghan Forest GRAPHIC DESIGN DIRECTOR Parnia Tahamzadeh GRAPHIC DESIGN DIRECTOR Alberto Alvarez WEBSITE DIRECTOR Victor Ramirez PHOTOGRAPHY DIRECTOR Jessie Kuruc SOCIAL MEDIA DIRECTOR Tracy Harwood BEAUTY DIRECTOR Shawnee Leonard DIGITAL MARKETING DIRCTOR Ashley Bonner FINANCIAL DIRECTOR Magdel Frias
FASHION / STYLING Aarica Jefferson Chelcie Guidry Cyril Pope Elke Saenz Emily Robinson Nichole Fallis Patrice Jackson Rebecca Nevarez Victor Ramirez PHOTOGRAPHY Andy Rolfes Ashley Gongora Brittany Shaban Hillary Head James Coreas Tanya Ruiz WRITING David Schmitzer Hannah Overstreet Nida Muhammedi Sharae Rogers BEAUTY Ashley Whitby Charis Orr Faye Morris Nida Muhammedi VIDEO Jonathan Kyle Mason Taylor Cloyd
LETTER FROM THE
EDITOR
W
elcome to the 4th issue of M7M.
clothes and materials embody countless messages. It
In this issue, we wanted to
isn’t something that’s here to simply be consumed. When
explore the idea of transcendence
we take the moment to transcend from consumption
apart from its literal definition and
to conscientiousness, the power of fashion can be
all connotations associated with it. This time around would
channeled towards a positive impact.
serve as an opportunity to look beyond the surface of our
As always, M7M seeks to serve and support the rising
abilities and thoughts, in order to be more and do more.
talent of the industry, all while providing our readers with
Why is this important? If we truly want to make an
a fun way to enjoy fashion. It has been an exciting time for
impact and join in on the conversation, we have to think
the M7M team as we move into the future with new goals
of fashion as something that goes beyond clothes and
of re-imagining the M7M experience. I invite you to join us
accessories—the norm. True fashion transcends. It is a
once again, as we capture the meaning of transcendence
reflection of the times and attitudes out there, where the
in our own special way.
Sincerely,
Adriana Solis Editor-in-Chief
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LAY ER ED Photography Ashley Gongora Styling Rebecca Nevarez
Top from Banana Republic METHOD SEVEN MAGAZINE | page 14
Top, vest & coat from Banana Republic, earrings from Francesca's.
Dress from H&M, necklace from Francesca's METHOD SEVEN MAGAZINE | page 16
Bag from Francesca’s | Hair and Makeup Ashley Whitby | Model Sierra Loren
L.A. ROSE Photography Ashley Gongora Styling Faye Morris
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Hair and Makeup Faye Morris | Model Milan Matute | Location American Eagle Harley Davidson, Corinth, Texas METHOD SEVEN MAGAZINE | page 20
Written by Sharae Rogers Photography Andy Rolfes
A
typical Sunday night of procrastination is in full effect. Unable to find the will to focus, my friends and I sit groaning about the trials and tribulations of being twenty-something college
students on the brink of insanity. While digging up daydreams of old romances, we cyber-stalk new possibilities, already mourning the loss of sleep over projects due in a mere two days. So we take about sixteen selfies, only to reluctantly settle on one that crops out 75% of our faces, before resorting to a filter like Amaro to further alter the reality of our dull situation. We constantly occupy our time with everything from OkCupid and the number of likes on our current Facebook status to the state of America’s public education system, third-world
“In a generation where nothing is private, the idea of anything being truly personal has become diminished. ” countries, and our impending graduation. Yet, despite this multi-tasking mentality, we are confident, intellectual, creative, and admittedly self-indulgent beings capable of just about anything. Meet Generation Me. In a generation where nothing is private, the idea of anything being truly personal has become diminished. We are the children who grew up with the Little Mermaid and Boy Meets World, along with September 11th and a great recession. We have experienced many shared tragedies and much of our adolescence and young adulthood behind lit-up screens while older generations looked on, scratching or shaking their heads. Our parents were primarily the “Baby-Boomers”, some only one generation behind, who firmly reminded us that they worked tirelessly to give us the privileges they could not afford themselves, just like their families before them. We were practically brainwashed by society and our upbringing to believe that we could be literally ANYTHING or ANYONE we
Me
Generation
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wanted to be, a mantra that we took quite seriously. We’ve been referred to “the Next Great Generation”, along with a range of adjectives like lazy, flaky, entitled… even groundbreaking and revolutionary. Regardless of how you spin it, our generation is making waves. Take one look at Forbes’ latest “30 Under 30” article, and you can easily observe the limitless possibilities that Generation Me has laid before us. We have created jobs and markets that had not previously been explored when our parents were our age. Social media, a term that didn’t even exist until the late 90’s, is now an entire career! People are becoming successful engineers and entrepreneurs every day at younger ages thanks to emerging technologies and digital elements like the blogosphere. Stay-at-home mothers are replacing Martha Stewart as women seek obtainable role models and the DIY trend grows exponentially. If you have a question about absolutely anything, Google can find it for you with a quick click of a button or swipe of a screen. Fashion bloggers have become celebrities in their own right, peddling everything from Topshop to tanning lotion, and are looked up to more often than T.V. shows like E!’s Fashion Police. We are a generation that likes to word hard and play harder (not necessarily in that order), but will the innovation and relationships we’ve built last? A better question might be, “why not”? Though we may seem impersonal to outsiders, Generation Me is one with substance. We’ve lived through a war where many of us lost brothers, sisters, mothers, fathers, and friends for reasons we
don’t entirely understand. We grew up facing global warming as a very real threat, and many of us are actively working to do something about it. We believe in social responsibility, and the right for people to enjoy living their lives, embrace love without judgment, and chase dreams that only others have marked as “impossible”. Most of all, we believe in ourselves— something we’ve been told to do by the same generations that have tagged us with terms like “self-centered”, “egotistical”, and “prideful”. So we have chosen to challenge the box we’ve been placed inside. Today, we find ourselves transcending the boundaries of futures promised to us, channeling a work ethic into jobs that mean something for the progression of our existence and the lives that we aim to touch. I took to the sidewalks of UNT’s campus, and my very own Facebook wall, to ask fellow peers the question: What’s the one thing they hope to get out of their careers? The most common answers included terms like satisfaction, success, recognition, substance, self-discovery, freedom, and happiness. Are these not the very same things that generations before us sought out? Perhaps what makes our generation irritating to some is our hope and determination to make the “impossible” attainable. Maybe we are as naïve as they say, and they’re all waiting for us to crash and burn, and learn. Regardless, this is our chance to paint a future unlike any other. What will Generation Me write out in the history books? Only time will tell. In the meantime, M7M would like to hear from you. What’s your take on Generation Me? 7
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PRO J EC TION Photography Brittany Shaban Styling Aarica Jefferson
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Hair and Makeup Abbey Schwindt | Model Abbey Schwindt METHOD SEVEN MAGAZINE | page 30
softly Saturated
Photography Tanya Ruiz | Styling Nichole Fallis & Emily Robinson
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North Free People at All clothing from & Honey ilk M d an er nt Park Ce
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Necklace from Milk & Honey Boutique
Jacket from Free People at North Park Center, dress from Milk & Honey Boutique | Hair and Makeup Faye Morris | Models Laurel Gregory and Misha Naqvi
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THE in CROWD Photography Tanya Ruiz Styling Patrice Jackson
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Skirt from Macy’s at Vista Ridge Mall | Hair and Makeup Shawnee Leonard | Model Toni Bridwell METHOD SEVEN MAGAZINE | page 42
VINCIT OMNIA VERITAS: Verum Conquers All Written by Jordan Mills Photography Andy Rolfes
D
allas-based
Verum
ap-
from a blend of their personal experiences
Chicago, discovered his talent for drawing
peared on the radars in early
and passions.
Choudhury, originally born
as a child, later evolving into skills in graphic
2013, immediately recog-
and raised in New York, works full time for a
and web design. Despite their diverse
nized for their androgynous
Dallas marketing firm, utilizing his role within
backgrounds, the three have become friends
aesthetic and fervent ambition. A collective
the label to seek to understanding of the
as well as entrepreneurial partners, each
of creatives with a singular mission, the
psychology of fashion and how it makes an
using their own strengths to build their brand.
brand visually speaks of their commitment to
individual feel. Banaban takes a more visual
The trio founded Verum on the basis
quality and modern minimalism with a slight
interest. Driven by elements of architecture,
that they hoped not only to communicate
edge—a kind of stark style that is somewhat
media, and art, Banaban previously studied
an aesthetic perspective, but to solve a
surprising, coming from a group of men who
interior design and visual merchandising,
problem. “We wanted to bring the truth back
are equally colorful in tradition and trade.
eventually leading to a career creating
to fashion,” Choudhury says, shedding some
Reham Choudhury, Reynan Banaban, and
displays for world-renowned department
light on the brand’s moniker. “Verum means
Haris Fazlani came together to create Verum
store, Barney’s. Fazlani, who hails from
truth in Latin.”
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In an industry that is often involved in illusion and immersed in fantasy, what truth are they referring to exactly? For one, they’ve made it a priority to highlight truth in garment construction and materials. “You’re paying $300 dollars for a shirt, and you have a polo that is poly-blend. Why can’t we create a balance where you are paying for quality?” Banaban muses. This focus on quality has trickled into the design process itself, leading to a presentation that is both uncomplicated yet eye-catching, and rich in details. Fazlani agrees. “There are a lot of companies who are making shirts for the moment,” he says. Choudhury immediately chimes in. “We want our pieces to be timeless.” To achieve this, Verum utilizes classic fabrics like houndstooth and snakeskin to establish stability before adding their own twist, a trademark that has earned them international recognition with patrons in France, Germany, and even Australia. Like many designers before them, the team begins the process of building a collection by brainstorming. “We do our homework before meetings and come up with different themes,” Fazlani says. Two past collections were derived from motifs like “cold-blooded” and “black and gold”, broad ideas used to form concepts of construction, color, and composition. Sketches and digital mock-ups are then created to communicate this vision to a seamstress, who produces samples with fabrics that are hand-selected by the designers themselves. Banaban emphasizes their involvement in the process. “If we hate a product, then we trash it. If we don’t believe in it, we won’t sell it.” To stress this point, a revision process finalizes each piece in the collection, and when an order comes in, the garment is constructed on demand. This is a
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far cry from the mass-production processes of fast-fashion, an intentional initiative that is meant to make each piece feel more personalized. Choudhury clarifies, “We can’t compete with [H&M and Zara], and we don’t want to compete with them. We want to make our own name.” Recently, the label decided to take their commitment to the personal aspects of their brand one step further, designing a limited-edition t-shirt targeted towards providing aid in the aftermath of the typhoon that devastated parts of the Philippines on November 8th, 2013. “We want to help as much as we can, and we don’t want to do it in a selfish way. All profits are going to the Philippines. We have more than they do,” Choudhury says seriously. In order to ensure that the profits are directly used for their intended purpose, the company has chosen to partner with a group of missionaries headed to the country to aid in the relief efforts, rather than going through a major third-party organization. With Verum experiencing so much growth and positive response in such a short period of time, the founders have made it a priority to continue their quest for truth, and to find ways of connecting with their audience on a human level. When asked what advice they could give to future generations seeking to explore similar endeavors, the three are devout in their ideas about the road to success. “If you love what you are doing, you have to grind your bones. Sacrifices need to be made,” Banaban emphasizes. Choudhury, eagerly struggling not to interrupt, agrees. “Hard work means never clocking out,” he says. Fazlani nods his head, taking an opportunity to encourage individualism, “They think there is one path to success, and if you don’t take that path, you’re doing something wrong.” Whatever barriers may be out there, it’s clear that Verum has every intention of breaking them down on their way to the top. “Don’t sleep on us,” Banaban jokes with a warm laugh. The three look at each other, appearing to exchange a secret between the glance. Choudhury smiles and laughs too, “Verum over everything.” 7
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Walk the
LINE Photography
Hillary Head Styling Elke Saenz
Suit from Dillard’s at Golden Triangle Mall, sunglasses from J. Crew, jacket & skirt from Francesca’s, sweater from J. Crew, jewelry from Francesca’s & Target METHOD SEVEN MAGAZINE | page 50
Top: Blazer, top & pants from Ann Taylor | Bottom: Vest, shirt, thermal & pants from H&M
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Sweater & pants from H&M, dress & jewelry from Francesca’s, sweater from Banana Republic, jacket from Dillard’s from Golden Triangle Mall | Models Alexandra Levee and Justin Miller
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Sheer Van Gauzy
Photography Hillary Head Styling Chelcie Guidry
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All clothing & accessories from Dillard’s at Vista Ridge Mall | Hair and Makeup Ashley Whitby and Faye Morris | Models Camden Williams (Kim Dawson Agency) and Katie Jones METHOD SEVEN MAGAZINE | page 60
BEAUTY
THROUGH THE AGES
Written by Nida Muhammedi Photography James Coreas Hair & Makeup Faye Morris Models Christine Kern, Dominique Best & Cara White
B
eauty, much like fashion, continues to change over time as society’s standards and ideals of what is “beautiful” evolve. It is a little known fact that even the ancient Egyptians wore makeup six thousand years ago by crushing up a soft rock
known as red ochre, using it as pigment to line their eyes. Beauty standards have definitely come a long way since Ancient Egypt, and the products that are used today are more advanced and safe, with a lot more options to choose from. Society has always had an obsession with beauty. In the Middle Ages, wearing makeup was considered immoral, but many women continued to wear it regardless of what society deemed acceptable. Modern beauty and makeup began in 1915 with the creation of lipstick, which has always been a beauty staple in every woman’s make up collection. Makeup rose to a height of popularity in the twenties during this time period of growth and renewal. New makeup and beauty trends flourished, and pale skin with dark eyes was considered the standard for attraction. For the cheeks, vibrant rose and orange shades were used, and the lips were accentuated with bold red hues. During the thirties, beauty became primarily inspired by Art Deco and Hollywood. Eyebrows were plucked so much they were barely visible, and a thin line of eyeliner was applied across the top lid and flicked slightly upwards to create a cat-eye, with eye shadow applied all the way up to the eyebrow. Blush tones were more pink or light red, and lip color sealed the look in darker shades of raspberry and sometimes
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even brown. The forties drew from a natural, glamorous look. Makeup was very minimal, and it was used sparingly only to bring out a woman’s natural beauty. This is heavily contrasted in the fifties, where eyeliner and mascara were applied thickly to create a dramatic look. Foundation was applied to cover any and all blemishes, creating a seemingly flawless complexion, and peach blushes with bright red lips were all the rage, mimicking starlets like Marilyn Monroe.
During the sixties, supermodels like Twiggy were the epitome of what was considered beautiful, and makeup was used for experimentation, drifting once again towards a more intense look. During this decade, eyes were the main focus, using eyeliner above the lashes as well as beneath the lower lashes to create a doe-eyed illusion. Mascara was applied heavily to emphasize drama, and the lips were usually kept nude so they would not interfere with the intensity of the eyes.
An emphasis on skin care and preventing age spots and wrinkles were a large factor in the makeup trends of the seventies. Women turned towards face creams and tinted moisturizers as a substitute for thick foundations and powders, in
order to allow the skin to breathe. Cheek stains took the place of powder blushes for a more dewy texture. Eyeliner and mascara shades were toned down or dispensed of entirely. The focus was instead placed on bright, pearlescent shadows and clear, glossy lips to emphasize a natural look.
During the eighties the fashion was bigger,
bolder, and bright, as was the makeup. Concealer was heavily used to cover up blemishes. Dark eyeliner and loads of mascara were applied thickly before adding bright clashing hues such as blues, pinks, oranges, and greens. Lipsticks and blush were all about the bright pinks, fuchsias and reds, which made for an overall vibrant look.
The nineties, a decade Generation Y are more familiar with,
mainstream beauty. Make-up trends are constantly changing as new
were heavily influenced by the grunge, gothic, and vampy looks
concepts come into fashion every season. Now, make-up is all about
during the early years of the decade. However, towards the mid-
self-expression and experimentation. There is no one rule or set look
nineties some women opted for a fresher, minimalistic look after the
that all women abide by. Though the members of certain existing
color explosion from the eighties, instead opting for lots of glitter and
subcultures continue to participate in similar beauty regimens,
shimmering powders.
personalization has become the focus rather than popularity, as
Today, it seems that there is not a single “look” that characterizes
people look to the media for inspiration without imprinting their identity upon it. 7
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BLEACHED
OUT Photography Jessie Kuruc Styling Nichole Fallis
Left: Top & cuff from Milk & Honey Boutique | Right: Top, necklace & skirt from Milk & Honey Boutique
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Left: Top & necklace from Milk & Honey Boutique | Right: Dress from Milk & Honey Boutique
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Hair and Makeup Faye Morris | Model Han B. Kim
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Model Citizen
Summer Crosley
Written by Hannah Overstreet Photography Courtesy of Summer Crosley
I
t is becoming increasingly important to be a professional “multi-tasker”. Our senses are bombarded with stimuli of all kinds due to the connective nature of the Internet and social
media, ever-present advertising, and the culture of excess we exist in. We are able to accomplish more than ever before, and collaborate with individuals and organizations all over the world. Increased productivity is wonderful for both individuals and corporations, but some of this progress has occurred at the expense of our earth’s natural resources. Summer Crosley has multi-tasked her way into professional modeling, acting, and activism. Her portfolio boasts over 100 international modeling gigs, a role on Nip/Tuck and
“I am always working toward future goals, but you never know what obstacles can come your way. ” Californication, and efforts to clean up the world’s oceanic ecosystem. “Through my travels to exotic countries I noticed a repeated problem—that some of the worlds most beautiful beaches are polluted [and] fish are dying, due to us humans littering and throwing plastic into the ocean. So many Orca whales are washing up on the shores of beaches lately, and scientists are finding tons of plastic in their bodies. It is sad, and people need to stop littering before it is too late.” Crosley has partnered with the Ocean Life Conservation and organized beach clean-ups in order to reduce the amount of waste pollution in the ocean. “I really think that the world is changing and people are realizing that we need to make changes fast...We are consuming more than the world can handle, populations are increasing, and we must take a step back and address these issues.” To put it into perspective, Save Our Shores estimates that METHOD SEVEN MAGAZINE | page 72
everyday objects like glass and plastic bottles, aluminum cans, and tin cans can take anywhere from 50 to 1 million years to break down. This means that one object discarded in the ocean or on the surrounding land could mean one to many lifetimes of its negative effects on the marine life and their natural habitat. According to Crosley, you can help save our oceans and beaches by using less plastic, recycling, being more conservative on consumption, and buying local. She encourages individuals to take action according to their passions, asserting that it’s important to not be confined by one career or “path” in life. Opportunities arise, problems need solutions, and we must adapt accordingly. Crosley says, “I try to take one day at a time and appreciate what I have. I am always working toward future goals, but you never know what obstacles can come your way.” 7
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Shoes from Windsor
WARRIOR Photography Brittany Shaban Styling Patrice Jackson
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Dress from Dillard’s at Vista Ridge Mall
Dress, belts & accessories from Dillard’s at Vista Ridge Mall METHOD SEVEN MAGAZINE | page 78
Top from Dillard’s at Vista Ridge Mall | Hair and Makeup Faye Morris | Model Jena Garay METHOD SEVEN MAGAZINE | page 80
Sign of the Times: Sixty Years of Fashion Written by David Schmitzer Illustration Brittnee Lavender
“I
1950s ndividuality” may not be a word typically associated with
grew bolder. André Courrèges, father of the space age
the 1950s, but it was during this decade that fashion took a
aesthetic, utilized the hype revolving around space
turn towards exactly that. With the ending of World War II,
exploration to create new forms of fashion including
the economy saw a stark change from rationing to expansive
metallic and reflective materials, box-shaped silhouettes,
consumerism, allowing for the discovery new fabrics and resources.
trouser suits and goggles, as well as go-go boots. The hippie
The transition from wartime into the rhythm every day life brought with it
aesthetic, which gained popularity due in part to the opposition
a move from conservative, traditional family lifestyles into a more urban
of the Vietnam War, was composed mostly of loose fit, dyed
and relaxed vibe. Up until this point, fashion was mostly aimed toward
clothing and beads paired with sandals or no shoes at
adults, but with the introduction of new music genres and television
all. This was a sharp contrast to the other dominant
becoming increasingly popular, the nation’s youth suddenly began
styles at the time which, aside from the far-out space
attempts to emulate the media. This created a new kind of consumer,
look, included colorful, double-breasted suits, wide ties,
and a fresh opportunity for marketing fashion directly to teenagers and
and wild patterns for men, along with stiletto heels,
young adults while they sought expression and individuality through
mini skirts, and mini dresses for women as a way of
dress.
emphasizing femininity and expressing sexuality.
Not only did the fashion industry benefit from fluxes in pop culture at
Denim, one of the trendiest fabrics in casual
this time, but experimentation was also taking place at a scientific level.
wear throughout the years, had one of many
Synthetic fibers like nylon and polyester emerged as fabrics that were
defining moments when bell-bottom jeans
easier for the every day person to care for. Following this same thread,
surfaced towards the end of the decade,
styles transitioned into tighter, sleeker clothing, utilizing the synthetics
ringing in the 1970s with plenty of flare.
turned to thrift stores for fashion finds, and men began looking to the
1970s
Ivy League for inspiration. This included sporting cardigans and polos,
The 1970s welcomed styles in just as
while adding more color to their wardrobes, including typically feminine
quickly as the decade ushered them out. By
shades of pink. But with all of this change, it was only a matter of time
the end of the 70s, bell-bottom jeans had
until trends moved on to something different entirely. Enter the 1960s.
nearly vanished, leaving pant suits
1960s
and jumpsuits in their wake. Despite
to create new trends. Looks from the 1920s resurfaced as individuals
this, denim remained the everyday
Though the 1950s may have paved the way for individualism in
choice of fabric for a range of apparel
fashion, the 1960s ran with that concept until it exploded into the
including vests, jackets, pants, shirts... you
mainstream. Diversity was welcomed, and people were encouraged
name it. Colorful clothing that dominated the
to express themselves and speak out more than ever before. The
1960s and early 70s shifted into earth tones
invention of “the pill” was a leading factor in the sexual revolution at
as the decade progressed, with the exception
this time, which gave women a new confidence and control over this
of the disco craze in the late 70s spurred by the
facet of their lives, unlike anything they had previously experienced.
film Saturday Night Fever. This look brought
This confidence carried over to women’s fashion, translating to leaps
men’s chest hair to the forefront (literally), and
and bounds in exciting and exotic styles. From the space-inspired
introduced butterfly collars, medallions, and
to the barefoot and braless hippies, dress grew bold and the people
the beginning of big hair in the mainstream.
And while one style of music grew increasingly
began growing their hair out to emulate grunge idols like Kurt Cobain,
fashionable, the age of anti-fashion also
known for his messy blonde locks and scruffy visage. Chuck Taylors often
began, as the United Kingdom introduced the
accompanied this particular look. Girls’ wardrobes held everything from
world to punk towards the middle to end of the
flowing floral dresses to pieces that looked as if they’d been borrowed
decade. Rubber garments and ripped clothes
from their brother, as the tom-boy look became increasingly accepted. In
paired with piercings and unconventionally
contrast, young women also looked to pop royalty like the Spice Girls and
colored hair characterized this look, made
films like Clueless for fashion inspiration, adopting platform shoes, preppy
popular by punk icons like Sid Vicious, Patti
dress, and bare midriffs to emulate their icons. Some were drawn to a
Smith, Richard Hell, and fashion designer
darker aesthetic, opting to stake their cultural claim as a member the Goth
Vivienne Westwood.
subculture, which was heavily influenced by Marilyn Manson and movies
1980s
2000s
like the Craft.
The 1980s drums up visions of neon, baggy shirts, and colorful leggings, but this
The 2000s saw a continued expansion of subcultures and their use of
decade brought with it more than just the
dress to exude group identities. Earlier hippie styles evolved into a look
fitness craze. The rise of MTV heavily
referred to as “boho-chic”, combining the traditional loose fitting styles
influenced
with low-rise jeans and an abundance
the
public,
especially
younger generations, and celebrity worship ran rampant as fashions shifted
of
dangling
earrings,
bracelets,
and
even anklets. As “emo” music gained
to mirror clothing worn by pop icons like
momentum among outcast teens, so did
Madonna and Michael Jackson. Leather
the styles being worn by band members
jackets, skinny ties, white-washed jeans,
from favorites like Sonny Moore of From
and aviators were prominent staples among
First to Last and Gerard Way of My
men,
while
women
preferred
fishnet
Chemical Romance. Both boys and girls
stockings, statement jewelry, and lace
donned eyeliner and skinny jeans as a
accents to jazz up their wardrobe.
widely accepted form of fashion, and
Brands like Calvin Klein and Perry
band t-shirts and pyramid belts became
Ellis rocketed into popularity, inciting
staples of this subculture. Hair was
the revival of “preppy” dress in the
better with sweeping bangs and best
form of polos, button downs, blazers, and fitted
at its biggest, and a teasing comb
pants. This decade also saw the rise of “power
and hairspray were essentials of
dressing”, due to an increase of women entering
the morning routine. As
the workplace. To evoke a sense of authority,
this trend lost steam, a
heavy padding was added to the shoulders
contemporary alternative
to create a broad-shouldered, masculine
was gaining momentum.
silhouette. This trend was cemented as a
The “hipster” aesthetic grew from its
trademark of the decade by influences like
strong connection to the indie music scene
the television show Dynasty and the first
into a fashion phenomenon, characterized
female Prime Minister of the United Kingdom,
at its core by dark wash skinny jeans, flannel
Margaret Thatcher.
button downs, over-sized V-neck t-shirts, and thick
1990s
rimmed glasses. Other representations of this style include moccasins, high-waisted cut-off shorts and often, messy hair.
Grunge stomped its way onto the scene
The irony of this style has been noted for its acceptance into the
of the nineties in torn and baggy jeans,
mainstream, when in fact the original point was to set the subculture
over-sized t-shirts, and plaid flannel. Men
and its members apart from the rest of society. 7 METHOD SEVEN MAGAZINE | page 82
BREAKING
Photography Tanya Ruiz Styling Patrice Jackson
THROUGH
Gloves & BCBG Bracelets from Dillard’s at Vista Ridge Mall
METHOD SEVEN MAGAZINE | page 84
Hat from Dillard’s at Vista Ridge Mall
METHOD SEVEN MAGAZINE | page 86
Hat from Dillard’s at Vista Ridge Mall | Hair and Makeup Faye Morris | Model Alcynna Lloyd
METHOD SEVEN MAGAZINE | page 88
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flygirls Photography Jessie Kuruc Styling Meghan Forest
Slacks from Nordstrom, trench coat from No Carnations Vintage, dress from Topshop from Nordstrom METHOD SEVEN MAGAZINE | page 90
Left: Dress from Kate Spade for Nordstrom, shoes from Dolce Vita for Nordstrom | Right: Pale pink top with blue flowers from Topshop for Nordstrom, pink skirt from Nordstrom, navy sweater from Kate Spade for Nordstrom, gray pants from Nordstrom
METHOD SEVEN MAGAZINE | page 92
Khaki slacks from Nordstrom, blue jacket with fur collar, brown plaid skirt & white purse from No Carnations Vintage
Cardigan from Kate Spade for Nordstrom, top & pants from Nordstrom, shoes from Dolce Vita for Nordstrom, trench coat & top from No Carnations Vintage
METHOD SEVEN MAGAZINE | page 94
Pants from No Carnations Vintage
Top: Dress from Kate Spade for Nordstrom, sweater & luggage from No Carnations Vintage, shoes from Sam Edelman for Nordstrom | Hair and Makeup Faye Morris | Models Tasia Shadden and Katie Evans METHOD SEVEN MAGAZINE | page 96
METHOD SEVEN MAGAZINE