MINT Magazine Winter 2016

STYLE & CULTURE

STANFORD UNIVERSITY

WINTER 2017

Lassen Volcanic National Park photo by Wyatt Mullen

WINTER 2017

LETTER FROM THE EDITORS Though we are firmly rooted in sunny Silicon Valley, MINT has always strived to be an outward facing publication. This winter, we’ve popped the Stanford bubble with force.

We’re thinking about: cultural appropriation in fashion, how the identity of the fashion industry has evolved in terms of its representation of gender, age, size, and race, and the way a simple accessory like a harness can bring inclusion to otherwise underrepresented communities in fashion, like folks interested in kink.

We are most honored to be featuring selected student photography from Stanford UNICEF’s winter art exhibit titled “The places you’ll go: Photographic reflections on childhood across cultures,” which transports us from Bangladesh to Big Sur. We follow our students out of the Farm and over the Atlantic: Anika shares her warm, playful, crisp illustrations depicting of her time studying abroad in Florence, while our interview with Emily describes her time studying at the Condé Nast College of Fashion and Design program in London.

We’ve also scouted out some delicious winter trends in our editorial spreads and articles on glitter lips, bomber jackets, and turtlenecks—just to keep you in the know. Our cover evokes a winter wet look with our model’s slicked back hair and chunky white kicks.

Now that we’re finally tucking nippy winter away and welcoming spring quarter, where the chill-to-productivity ratio is generous and the sun smiles all day long, we invite you to indulge in one last icy, minty-fresh smooch before kissing winter goodbye.

Enjoy, Ashley Overbeek, Becky Aydin, Divine Edem, Iman Floyd-Carroll MINT Editors-In-Chief

Becky Aydin 4

Divine Edem

Iman Floyd-Carroll

Ashley Overbeek

EDITORS-IN-CHIEF ashley OVERBEEK divine EDEM becky AYDIN iman FLOYD-CARROLL DESIGN DIRECTOR nicolette GRABIEC ART DIRECTOR phoebe YAO MANAGING DIRECTOR becky AYDIN WRITING DIRECTOR divine EDEM PHOTOGRAPHY DIRECTOR sydney MAPLES COPY EDITORS carly OLSZEWSKI anna-marie SPRENGER MODELING DIRECTOR iman FLOYD-CARROLL WEB DIRECTOR mirna EL-KHALILY DESIGNERS arkira CHANTARATANANOND eva HOFFMAN taylor SIHAVONG cathy YANG SOCIAL MEDIA DIRECTOR erin ENGLAND FINANCIAL OFFICER olivia GREGORY SPONSORSHIPS sean HOWARD

IN THIS ISSUE

bomber brigade 8 oh! the places you’ll go 18 Italy illustrated 30 the changing face of fashion 36 necking it 42 a word on the harness 46 if you need me, i’ll be on the row 50 hip-hop fashion 58 a conversation with Emily Koufakis 64 fashion, identity, and communication 68 all that glitters 76 cultural appropriation 80 what makeup means 84 the politics of fashion 92 athleisure 98

Lassen Volcanic National Park Photo by Wyatt Mullen

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BOMBER BRIGADE

Photographed by Iman Floyd-Carroll Modeled by Hamzeh Daoud, Yusef Ferhani, Autumn Greco, Evan Miller, and Katherine Yang

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Special thanks to: Greg Savidge & Advantage Aviation

OH!

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THE PLACES YOU’LL GO Photographic Reflections on Childhood Across Cultures WHEN: January 13-15, 2017 Where: Roble Arts Gym, Stanford, California WHAT: Stanford student artists contributed their artwork to Stanford UNICEF’s first-ever art exhibit, sponsored by Stanford Arts. Over 100 visitors came to the exhibit organized by the UNICEF Winter Arts Exhibit Team.

As described by Kinjal Vasavada, Head Curator at Stanford UNICEF: Oh, the Places You’ll Go! by Dr. Seuss is a lens through which many of us have thought about the ups and downs of being a kid and growing up, in a culture that values rugged individualism and achievement. The concept of childhood varies among cultures and nations, resulting in a diverse array of experiences that fall under the umbrella term “childhood.” While photographs of children are often used to universalize childhood, they can be used as a powerful tool to do precisely the opposite: expose viewers to the vastly different perspectives with which people think about childhood. In this exhibit, we juxtaposed the distinct experiences of children from more than ten nations across the globe with the classic narrative of Dr. Seuss’s Oh, the Places You’ll Go! We invite you to explore the nuances in each phase of the story arc and share your thoughts and feelings.

“The Importance of Being Lost” Photograph by Eva Hoffman

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cont. from previous page.

In a world that has become inundated by technology and the media, kids have begun to lose their sense of wonder and fascination concerning nature. The parents of this young boy (pictured) decided to tackle this problem in a unique way. They got rid of their TV and instead promoted time for self-reflection as well as to discover a sense of exploration and wonder with nature.

Eva Hoffman is a freshman at Stanford University planning on studying Product Design or Marine Biology. She grew up in Minnesota with her family, her dog, 6 chickens and 80,000 bees. She has been interested in photography for several years and was a finalist for a national geographic student photo competition in 2012 and a two-time Minnesota High School Press Association winner for her photographs.

“Look Behind�

Photograph by Megha Srivastava A young Bhutanese girl looks at my camera as she is led by her family to the central prayer area of the Changangkha Lhakhang temple in Thimphu. This temple is a popular place for parents to get blessing for their children by the protector deity, Tamdrin.

Megha Srivastava is a junior majoring in Computer Science, and have always enjoyed photography as a bridge between engineering techniques and art. I love learning about different cultures, especially through their religious customs and traditions, and got the chance to immerse myself in Indian and Bhutanese culture in the summer of 2016. My work showcased in this exhibition all feature children near religious places of worship, examining the way children interact with the religious cultures of India and Bhutan.

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“My Shadow” Photograph by Raghav Mehrotra A young girl peers through the grills of a food store in Timbavati Village. Poverty and the resulting food scarcity are detrimental to childrens’ development in this South African village.”

Raghav Mehrotra is currently a Junior at Stanford, studying South Asian History and Computer Science.

He is interested in the intersection of technology and education, particularly in developing economies. Inspired by the power of photojournalism as a visual literacy tool, he hopes to pursue his passion for photography to highlight the scope for improvement in current educational paradigms in the Indian subcontinent.

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“Lost in Between: Yazidi Kurdish Refugee child, Shingal Mountain, Kurdistan” Photograph by Alan Khaledi This photo is taken in Shingal Mountain. The Yazidis after having Shingal (their main town) and some of the surrounding villages invaded had to escape ISIS. The Shingal mountain is a huge mountain range that was besieged by ISIS on all sides. Being familiar with the terrain and geography, small groups of armed men within them were able to protect them for a period of few weeks without any water or supplies, where some lost their families to starvation and dehydration. After the Kurdish Peshmerga was able to break and save them, they refused to stay within camp parameters and have chosen to live in the mountain, close to their home. They are a firm believer that this is temporary and that they want their home back.

I talked to this girl’s older brother, and I got this shot as she was creeping through the door and listening to us. Her story and that of his brother were similar to many of the other children – vague memory of the brutality their family witnessed, a list of names of the people they had lost in their family and relatives, and a existing in a state of abyss in their current state of living. A lot of the children I met were very little at the time of the attacks, and some have been born in the mountain. Let your imagination depict what it’s like being born into this world without a home and your closest family members.

“Meet our new front yard: Yazidi Kurdish refugee child, Shingal Mountain, Kurdistan” Photograph by Alan Khaledi A child I ran into in the blazing sun mopping the dirt off the ground as entertainment. Without any means of schooling, electricity and minimal water, it is hard to imagine how a single day will pass.

Alan Khaledi is a photographer born in Erbil, the capital of Kurdistan – an autonomous region in Northern Iraq. Currently pursuing Electronics Engineering in his final year at Stanford, Alan is inspired by the power of documenting and sharing stories across visual media, both through photography and film projects. Alan is committed to using his work towards issues related to environment conservation and human rights, as well as documenting diminishing cultures and marginalized people.

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“Sand Dollar Beach, Big Sur, California” Photograph by Kristen Stipanov Children enjoy a sunny summer day boogie boarding at Big Sur’s largest beach, Sand Dollar Beach.

Kristen Stipanov developed a passion for photography as she began playing with her grandfather’s film cameras in high school. At Stanford, Kristen taught herself digital photography and started trying photojournalism. She eventually ran the photo section of The Stanford Daily, interned with the photo editors of Smithsonian Magazine and as a photographer at The Monterey County Weekly. This photograph was taken on a detour from a Monterey County Weekly assignment. In her photography, she is especially interested in the line between documentation and art.

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ITALY, Illustrated

By Anika Nagpal Ciao, my name is Anika! I’m a junior, and I just got back from my time abroad in Florence. Although I spent 96% of my time in Italy eating pizza, for the remaining 4% I committed to making illustrating a habit (something that I find hard to do while I’m on campus). I started a travel sketchbook to capture a handful of special moments, humans and happenings of my quarter. I hope you have fun flipping through!

Keep up with Anika’s artwork on Instagram @anikamonkeyart

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photo from CNN.com

The Changing Face of Fashion A YEAR IN REVIEW

Written by Naz Gocek The rapid pace of globalization has made the consumer base for large fashion brands significantly more diverse than before. Asia has seen a nearly 10% rise in expenditure growth in clothing and footwear, while demand for personal luxury goods--like high fashion--is on the rise at an unprecedented rate. Yet, mainstream women’s fashion brands have failed to reflect the diversity of their consumers--and this isn’t limited to racial diversity. Popular fashion advertising campaigns have always struggled to include models that vary in age, size, race, and gender. There is definitely a discussion to be had regarding the causes of this lack of diversity in the fashion industry: some argue that the industry merely reflects the racial bias embedded in the consumer society, others point to a lack of diversity in the boardroom. African-American supermodel and fashion activist Bethann Hardison places blame on modeling agencies, accusing them of holding back models of color.

With the beginning of a new year, it is the optimal time to look back and reflect. Usually, the process of reflection involves revisiting flawed decisions and trying to come up with resolutions to ensure they aren’t repeated: this article takes a more positive approach. Though there is still a long way to go until the fashion industry accurately reflects the attributes of its consumer base, it is important to celebrate small victories that took place in 2016:

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Gender

The representation of the gender spectrum in women’s fashion is a very recent phenomenon. Unfortunately, trans individuals were laregely absent from fall 2016 campaigns. Nevertheless, 2016 did see some trailblazing advertisements like H&M’s #ladylike campaign, which included 2 women kissing, a 72-year-old model Lauren Hutton, and trans model Hari Nef. Marc Jacobs deserves another shout out here, as the American brand featured trans director Lana Wachowski and Hari Nef. There is a lot to look forward to in terms of gender representation in fashion in 2017; for example, brands Diesel and About You are expected to launch a joint campaign featuring trans models Benjamin Melzer and Loiza Lamers.

Age

According to Adweek, people over the age of 60 make up the fastest growing group of consumers in the world, accounting for over 60% of global consumer spending. Strangely, brands have only recently begun to incorporate older models into their campaigns. Throughout 2016, older models comprised approximately 4% of models cast in campaigns. Marc Jacobs’ campaigns included 52-year-old musician Courtney Love, 55-year-old Kembra Pfahler, and 64-year-old Keiji Haino.

Other brands also became more inclusive: Aigner made 95-year-old fashion icon Iris Apfel the center of its 2016 campaigns, truly driving home the fact that style is timeless.

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photo from CNN.com

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Size

Social media has become an important medium for the celebration of all bodies. Body positive bloggers such as Ragini Nag Rao use social networks as a platform to spread messages of empowerment and self-care. Little by little, the apparel market is catching up with the body positive movmeent. For instance, plus size women were cast 7 times out of 440 models that were featured in Spring 2016 campaigns. Though that number is small, plus size models have made some serious waves. JCPenney’s #HereIAm commercial, which features blogger Gabi Gregg and plus size yogi Valerie Sagun discussing the importance of self-love, got over 4.5 million views. Aerie’s “real” campaign led to model Iskra Lawrence skyrocketing to fame and landing spreads in dozens of magazines.

Race

In the spring 2016 season, models of color made up 21.8% of ad campaigns. This number increased slightly fall 2016, which saw 23.3% non-white models featured in campaigns. A notable instance of racial diversity was Chloe breaking its “white streak” by casting Brazilian model Ari Westphal in its spring campaign; the brand had not included a non-white model since 2001. Campaigns by Chanel eyewear, Balenciaga, and Alexander McQueen also included more models of color than before.

Hopefully 2017 will see significantly more variety within fashion campaigns targeting women.

Urban Outfitters started the year on an excellent note by launching its “Class of 2017” campaign, featuring a diverse group of 16 influencer: students, artists, musicians, and so on, all of different genders, sizes, and ethnicities. Similarly, L’Oreal’s “Your Skin Your Story” commercial has gained momentum. The ad has multiple models of color discussing their heritage and how it relates to the beauty industry. L’Oreal’s campaign is unique in that it actively emphasizes the importance of diversity in fashion. A study by the Business of Fash-

ion found that black women were 1.5 times more likely to purchase a fashion product advertised by a black model. This finding is important for two reasons. Firstly, clearly, there is an economic benefit: consumers are more willing to invest in items whose brands invest in using models that look like them. Secondly, and perhaps more importantly, people feel more engaged in the fashion industry when models look like them. Representation is often synonymous with inclusivity. The world of fashion is one that facilitates self-expression, creative growth, and cultural exploration: it is necessary to maximize entry into this transformative world.

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NECKING IT Photographed by An Nguyen Modeled by Lillian Bornstein, Hamzeh Daoud and Madeline Lauinger

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Leading Fashion and Culture:

A WORD ON

THE HARNESS

Written by Rachel Zilberg Photographed by Rachel Zilberg Modeled by Lily Zheng, Jessica Chow, Dan Brown, and Didi Chang-Park Rachel Zilberg ’18 is an underground fashion enthusiast inspired by unconventional communities. In the following opinion piece, Rachel outlines the harness in fashion today alongside the trend’s current and historical implications surrounding the BDSM subculture.

“A harness is essentially a combination of belt-like shapes meant to hug and highlight the body”

The words “leather harness” might bring to mind a fetish club from a recent Black Mirror episode, or perhaps something you strap onto your dog. Yet harnesses, like lingerie-as-fashion and the recent slip dress craze, are another instance of a taboo morphing into a trend with their use by fashion designers. This past summer and fall, leather harnesses could be spotted in department stores, boutiques, at music festivals, on the runway, and even on Taylor Swift. Vogue published an article in June about how to wear a harness without looking like a fashion victim. Despite its recent runway status, the history and significance of the harness lie in its decades-long BDSM sub-cultural roots.

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A harness is essentially a combination of belt-like shapes meant to hug and highlight the body, usually the shoulders or chest. Harnesses can be intricate and fetish-inspired, as seen in the designs of Zana Bayne and Yeha Leung, or minimal and understated, as seen in BCBG’s simple body-framing lines. Harnesses don’t have to be leather: the Swedish indie designer Pink Milk Sweden works primarily in vegan leather, and the Australian model-designer Teale Coco produces intricate waterproof pieces in stretch satin, making for colorful blood-red bathtub photosets on her website.

Harnesses are as flexible as your favorite bag. You can put them over a simple tight-fitting top, over an elegant dress for a gothic edge, or over your sweater in the winter for eye-catching silhouettes. Harnesses are particularly helpful as an accessory with baggy pieces that would otherwise hide your figure. Stick a harness on top of your t-shirt dress, and suddenly you have a trendy, accentuating piece. These risky statements may seem new, but according to W magazine’s interview with Zana Bayne, a prominent designer with clients from Debbie Harry to Beyoncé, fashion harnesses have been on the runway since the 1980’s.

This begs the question: why have harnesses resurfaced now? Aesthetically, harnesses work well with recent minimalist trends. They grant geometric structure without overwhelming a look. They appeal to fashion as a venue for visual avant-garde, as well. But this time, harnesses have come into mainstream fashion alongside a growing culture of sexual discourse and alternative relationship structures.

Before appearing on Louis Vuitton models, leather harnesses were worn by men in the gay leather scene of the 1970’s in big cities like Berlin and San Francisco.

Leather returned in E.L. James’ erotic book Fifty Shades of Gray which, while problematic in terms of its lack of healthy consent practices, encouraged people to explore and discuss their identities without being publicly ostracized. When sun-kissed college kids were donning harnesses over crop tops at the musical festival Outside Lands last summer, the Huffington Post published an article titled “Trying To Understand Consent? Ask The LGBTQ and Kink Communities.” Given that interest in BDSM (Bondage, Discipline, Dominance and Submission, Sadism and Masochism) was officially listed as a diagnosable pathology in the Diagnostic and Statistical Manual of Mental Disorders (DSM) until 2013, the existence of such an article in a widely read publication is revolutionary.

Fashion at its best interacts with cultural change. Our notions of respectability and acceptability in our personal lives are shifting. Society is steadily realizing that certain relationships aren’t any less valid or healthy simply because they may not look exactly like other people’s relationships.

BDSM in the bedroom and its influence in fashion through the use of harnesses as accessories aren’t the only way mainstream understanding of sexuality has broadened. The traditional monogamous relationship structure itself is no longer an expectation. You’ve likely met people in your social circles at Stanford and beyond who identify as polyamorous, meaning that they have multiple committed romantic relationships. Polyamory, too, has surfaced online and in fashion publications.

For some, wearing a harness can be entrenched in identity–in wanting to silently come out as kinky or queer, a la hanky code (wearing colored hankies to communicate your queer or kinky identity to those in the know while avoiding social prejudice). What was once an underground garment can now be found in everyday

places, quietly implying that personal sexual exploration might now begin to exist acceptably under the public eye.

For many people wearing this trend, harnesses have nothing to do with kink at all. The harness is adaptable to personal expression. Teale Coco appropriately describes her harnesses as “genderless.” The harness can be chastely powerful, as if worn by fantasy royalty. The harness can be about identity politics or pure aesthetic. The harness can be grungy, romantic, heavy, or delicate, while never quite being practical. The harness is timeless and bold, both stating its history and shrouded in implication.

Today, most still see harnesses as out of place among lace dresses and fur coats in places like Intermix, Urban Outfitters, or the odd boutique on a street corner. But: try one on over your button-down or tank top, admire the way it accentuates your figure, and think about the cultural background and implications of where those inspiring shapes came from. Just as your new harness can blend with a chiffon blouse or pleated skirt, the people who carved the harnesses’ heritage blend into our abundance of human experience.

“The harness can be grungy, romantic, heavy, or delicate, while never quite being practical.”

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if you need me, i’ll be on the row Photographed by Sydney Maples Modeled by Christie Hartono, Bec Smith, and Niall Sohan

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Written by Mirna El-Khalily Photographed by Ryan “Jae� Wong Modeled By Terrence Alexander, Marcus Sheffield, Fernanda Kramer

HIP-HOP FASHION: The Evolution of a Dualistic Medium of Identity

Hip-hop and fashion: separately, they are two artistic mediums that allow people to express their style, emotions, and personality. Combined, “hip-hop fashion” allows music to bleed into fashion, providing a stronger, niche form of self-expression.

Hip-hop fashion reigns as a distinctive style that was originally formed by African American kids of the South Bronx and beyond in NYC; it later expanded to cities like Los Angeles, Chicago, Philadelphia, and Detroit. It complements the expressions and styles of hip-hop. It is a physical expression forged through the influence of the styles and brands of big-name hip-hop artists. It is fueled by a sense of personalized identity and the idea of freshness. Despite its humble origins, it has grown into a multi-billion dollar industry. Throughout its journey to the top, hip-hop fashion has continuously promoted a strong sense of identity for its most loyal fans.

Sacha Jenkins displayed the origins of hip-hop fashion through his documentary Fresh Dressed. The film opens with a scene reviewing the best church styles worn by African-Americans during the time of slavery. According to historical 18th century records, slaves would dress their best to rebel against enslavement and assert their freedom and individuality. The documentary flashes scenes from the jazz age to 1970s Manhattan—where Jenkins says hip-hop fashion originated.

The South Bronx witnessed urban decay during the 1970s. An overflow of abandoned buildings led to approximately 40% of neighborhoods being abandoned, ransacked, or set on fire. It was during this time that gangs like Savage Skulls began customizing their denim outfits with adornments like badges. Their rebel look soon transformed into B-Boy (breakdance) styles, which led to the popularity of sportswear brands, like FILA, as street style, and finally the establishment of hip-hop fashion brands.

The creation of big-name hip-hop centric companies in the 1990’s led to this fashion style’s establishment. Brands like FUBU (For Us By Us), Rocawear, Coogi, and Phat Farm benefitted from the enormous popularity of hip-hop music in 1990’s. The success of hip-hop brands, however, tended to be short lived: too many brands formed by rappers took over the fashion market, which led to fatal competition and conflict. After the end of the “fubu” labels, artists obsessed over European houses like Givenchy and Louis Vuitton. In addition to luxury labels, hip-hop artists turned to preppy labels, such as Tommy Hilfiger, Nautica, and Polo Ralph Lauren. Still, high-end European brands reigned as the materialistic signals of wealth and status. This trend of favoring high-end tastes over street-specific fashion remains prevalent in today’s hip-hop culture. However, as hip-hop artists shifted to join forces with these European brands,

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hip-hop fashion morphed into a monopoly and the tables were now turned. Several luxury brands compete to create dynamic collaborations with the hiphop community and other urban artists.

In February 2015, the first season commemorating the partnership between Adidas and Kanye West culminated in YEEZY Season 1. In the collection’s press release, Adidas + KANYE WEST was described as a “Yeezy branded entity creating footwear apparel and accessories for all genders across street and sport.”

YEEZY Season 1 saw the release of two revolutionary sneakers: YEEZY Boost 350 and Boost 750. Fans went crazy over the sneakers, and they sold out almost immediately. Since then, YEEZY Season 2, Season 3, and Season 4 have been released. Adidas + KANYE WEST has seen tremendous success for both the hiphop artist and the German sportswear brand. For his YEEZY Boost 350, Kanye was awarded a “2015 Shoe of the Year” by Footwear News. Kanye was also awarded an Adidas team to create more YEEZEY branded products. Adidas scored big financially as a result of the collaboration: A MarketWatch report found that Adidas won 29% of the secondary sneaker market following the YEEZY collaboration. According to Adidas, this “unprecedented new alliance makes history as the most significant partnership ever created between a non-athlete and an athletic brand.”

In February 2016, one year after Kanye debuted his YEEZY collection with Adidas, Rihanna debuted her FENTY clothing collection in collaboration with Puma as one of the brand’s creative directors. Back in December of 2015, Rihanna released her initial Creeper sneaker with Puma, which sold out almost immediately. After Rihanna teased fans with the Creeper release, she released her full Fall 2016 FENTY PUMA Line at fashion week in New York. The collection also debuted another addition of Rihanna’s footwear collection with Puma: the trainers. The last installment of the footwear collection, the faux fur slides, were unveiled in April. The craze over the slides was so huge that they sold out within 30 minutes on the PUMA website. Like Adidas, Puma has experienced great financial success and commercial growth because of its partnership with the famous Barbadian singer. Sales have reportedly increased by 4%. Rihanna is now seen as the hottest marketing item. As writer Rebecca Kim at Hypebeast described it: “The Bad Gal has the Midas Touch.”

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These are just two examples of the growing trend of hip-hop and urban artists pursuing long-term collaborations with brand-name fashion powerhouses.

In the 90s, collaborations were temporary partnerships that involved the release of a particular item, like Reebok and Jay Z in the creation of the Reebok S. Carter sneaker. Companies would usually release one limited-edition item with a big name hip-hop artist as a collaboration. Now, as seen with Rihanna, companies are establishing artists as creative directors. These long-term partnerships now not only involve the strict release of a single product, but allow for artists to have the freedom to innovate and release clothes, shoes, and accessories.

In the end, everything concerning hip-hop fashion comes down to one word: fresh. Fresh is something that is new or rare, something that is highly desired, something that screams to be looked at. According to director Sacha Jenkins, fresh is displaying that new limited-edition clothing item—proudly proclaiming that you have money and can afford to buy the best.

Both hip-hop artists and fans alike go to great lengths to maintain their clothing, to look as fresh as possible. Being fresh represents your notion of money.

For many hip-hop fans who come from impoverished backgrounds, being fresh is the only way to maintain identity. Damon Dash, who set up Rocawear with Jay-Z, says, “if you go home and you got roaches and 10 people living in an apartment, the only way you can…feel some kind of status is [with] what you have on your body.” Hip-hop fashion provides a sense of identity, and for many, that identity offers an escape from reality by creating an illusion of great wealth, power, and status.

So what does it actually mean to be fresh in 2017?

Fresh in 2017 is wearing that Yeezy Boost 350 or that faux fur hoodie by Rihanna. Fresh in 2017 is flaunting that FENTY logo or that YEEZY signature touch, and then noticing people double dip as you walk by.

Hip-hop fashion has reached a point where artists are creating their own clothing lines with big brand names. Even in 2017, hip-hop fashion is still centered around the self—deciding what clothes and overall appearance you flaunt. Although hip-hop fashion appears to be peaking in 2017, the underlying idea of individuality originated in the ‘70s with kids from the South of Bronx just wanting to stand out. Who would have known that this style would grow into a global sensation.

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A CONVERSATION WITH:

Emily Koufakis

MINT sat down with junior Emily Koufakis to learn about her time abroad in London attending the prestigious Condé Nast College of Fashion and Design program in London.

MINT: Tell us a bit about yourself.

My name is Emily Koufakis and I am a Junior undergraduate from New York, studying Science, Technology, and Society (STS).

I am involved in my sorority, Kappa Kappa Gamma, and I am a head lacrosse coach for young girls in the Palo Alto community.

MINT: How did you get involved in the Condé Nast program?

Growing up in the New York City area, I was surrounded by eclectic style and a thriving, diverse culture, and I have always had a deep interest in fashion. However, I never had the opportunity to pursue it in a professional or educational setting. Being such a vivacious reader of Condé Nast publications, I stumbled upon an advertisement for “The Vogue Fashion Certificate Program” at the “Condé Nast College of Fashion & Design” in London. I was immediately enthralled by this program and knew that there was no loss in applying. Moreover, I knew that I always wanted to work/study abroad, so this seemed like the perfect opportunity to do so.

After a rigorous application and interview process, I was accepted into Vogue’s program. I was one of twenty-five people worldwide to participate in the course, and I was the only American.

MINT: How did the Condé Nast program fit into the career path you want to pursue after Stanford?

Throughout the program, I learned a great deal about myself, my interests, and even my disinterests. The other students and I shared a similar passion for fashion, but I was unsure of exactly what I wanted to do. Through my experiences, projects, and meetings with the most highly regarded professionals in the industry, I came to learn that the business side--specifically the technology/digital aspect--was where I wanted to be.

Today, the entire publication industry is undergoing drastic change due to the development of technology. Magazines are shifting from print to digital, and this is essentially the future of the business. I found the digital side extremely intriguing and entrepreneurial. After Stanford, I hope to pursue fashion and tech--whether that is e-commerce, handling the digital side of a magazine’s website, or starting my own company.

MINT: That sounds awesome! What was a typical day like for you during the program?

A typical day at the program: I would arrive to school at 9 am. We would start with an industry guest speaker, which turned out to be my favorite part of the program. Speakers such as

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Alexandra Shulman, Editor-in-Chief of British Vogue, founder of Net-A-Porter Natalie Massenet, and other highly regarded photographers, writers, etc. would come and share their experiences in the industry. After the guest speaker, we would have lecture. The first half of the course consisted of fashion media, while the second half consisted of fashion business and marketing. Within all of these broad subjects, each day would focus on one specific topic, whether that is trend forecasting, fashion buying, public relations, ads and sponsorships, etc.

At least one day per week, the program would arrange visits to museums, exhibitions, and screenings to various locations throughout London. This was an extremely special opportunity, as most of our visits were exclusive and not open to the public. It was awesome getting to experience the diversity of London. To end the day, we would either go to the Vogue House (where Condé Nast headquarters are) to work with the professionals at British Vogue, or we would work on our assigned projects.

MINT: How was the work/study program like for you compared to that of Stanford? Did you experience any major challenges adjusting to the program?

The work/study environment was completely different than Stanford’s. First, we called our “instructors” by their first names, so it was personal and it felt as if they were my peers. Second, although I initially found being the only American a huge challenge, this very aspect evolved to become the reason why the program was so humbling and special. I had the opportunity to meet women from about twenty different countries such as India, Dubai, Scotland, England, Italy, Mexico, Australia, and Spain, to name a few. Working with these women and learning about all of their different cultures, backgrounds, and interests completely changed my perspective on life. It was so rewarding being able to

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work on group projects and share ideas with those who are so different from your own background. Overall, the program was extremely collaborative and hands-on, which I loved. Though I was the youngest (I’m 21, and most people were 20-30), the program was extremely professional, and it sometimes felt as if I was in a work/professional environment compared to an educational one. I acquired skills and knowledge that are so applicable to the fashion industry, something that I have not so directly experienced at Stanford. For example, for my final project, I was able to create an app prototype for Condé Nast, in addition to creating its marketing strategy and pitching the app to their team. I also had the opportunity to create a Vogue mockup issue from scratch, acquiring intense skills in Adobe Photoshop and InDesign.

MINT: What were some of the highlights of participating in such a prestigious corporation’s program?

Having the opportunity to be a part of such a prestigious corporation and working alongside their professionals was the most rewarding experience of my life thus far. As I said before, the industry guest speakers who came to speak with us were a definite highlight, as each talk was personal and provided us with the chance to ask questions. I will forever cherish the advice I got from the professionals in the industry. Meeting Nicholas Coleridge, President of Condé Nast International, was the experience of a lifetime.

ests along the way. For as long as I can remember, my dream was to work for Vogue in New York. However, while completing this program, my interests changed immensely. At first, I was overwhelmed and confused, as my lifelong dream was being challenged by my environment and experiences in the industry. As I came to learn more about Vogue, my interests became tailored to the digital and tech side of the company, as I mentioned before. I found that I didn’t have as strong a love for the print and design, styling, and clothing that consumed the pages of the magazine, but instead for the company’s business and digital side. Today, our world is shifting from print to digital, and it is such a novel area to be involved in. At Vogue, the professionals working on this side of the business were quick on their feet, entrepreneurial, and they shared a common vision to adapt to the millennial of today. For example, young adults are transitioning to reading the publications on their phone or computer, because it is easily accessible and free! This lesson was so beneficial to me, because it highlighted that I did not want to pursue fashion exclusively; rather, I hope to combine the two--fashion and tech--and help to change a traditional business such as Vogue better cater to the digital age.

MINT: What were some of the lessons from the program that left a lasting impression on you?

One lesson from the program that left a lasting impression on me was that figuring out what you don’t want in your professional career is just as important as figuring out what you do want, and everyone should keep an open mind and be willing to adapt to changing inter-

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Photographed by An Nguyen Modeled by Mo Asebiomo and Starr Jiang

Fashion, Identity

& Communication

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All That Glitters Written by Paulina Campos Photographed by Rachel Zilberg Modeled by Pablo Wilinik and Divya Siddarth

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Instagram is a hub for makeup and beauty experimentation, with looks ranging from artistic to over-the-top. This past year, makeup artists have given us rainbow highlighter, glitter roots, and extreme color correcting-not to mention Van Gogh recreations on eyelids and realistic constellations on faces and bodies.

While this creativity is frequently seen in eyeshadow looks, contouring, and even eyebrow styling, it seems like the lips are usually ignored. Nude, matte lips have been the reigning trend since Kylie Jenner first released her lip kits, and it seems like every beauty influencer completes their look with the same matte liquid lipstick. Few creative lip trends that utilize new techniques or textures have gained traction-- that is, until legendary makeup artist Pat McGrath introduced the beauty world to her own lip kits, complete with loose glitter.

McGrath, dubbed the most influential makeup artist in the world by Vogue magazine, first unveiled the glitter lip concept on the runway at the Atelier Versace Fall 2016 couture show. Bella Hadid, Taylor Hill, and Hanne Gaby Odiele were among the models sporting the deep red lip that twinkled under the show lights. McGrath’s sparkling creation garnered even more praise and social media buzz than the clothes that the models were wearing. Unlike most runway makeup looks that are much too dramatic to actually wear, these glitter lips are just as beautiful in an Instagram selfie as they are on a couture runway. The subtle, sophisticated sparkle has a high fashion feel, but it is still totally wearable.

A few months after the Versace show, McGrath announced the launch of her Lust 004 Kits so that her fans could recreate the enviable lip look on their own. The kits come with two lipsticks, a gloss, a metallic pigment, and microfine glitter that is offered in three different shades. However, as with most Pat McGrath Labs products, the kits are currently out of stock due to high demand. But you don’t need this sixty dollar kit to achieve a runway-worthy pout.

Recreating McGrath’s look only takes a few simple steps. You’ll need lipstick, a cotton swab or lip brush, and fine, cosmetic glitter, according to beauty writer Krista Burton. First, apply the lipstick as you normally would, blot your lips, then reapply. Dip the brush or cotton swab into your glitter, and pat it onto your lips, making sure to evenly distribute the product to avoid patchiness. Finally, press your lips together to keep the glitter in place. The sparkling statement lip is surprisingly easy to execute, and it allows you to keep things simple on the eyes while still achieving an overall dramatic statement. This lip is perfect for a nighttime event, any time that you want to add some unexpected sparkle to your makeup look, or if you just want to channel your inner Bella Hadid.

While a solid color, matte lip will always have its place in the world of makeup, Pat McGrath’s daring glitter lips have encouraged makeup artists and makeup lovers alike to continue experimenting with different lip styles and applications in the age of lip kits.

CULTURAL APPROPRIATION

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t Marc Jacobs’ Spring 2017 Ready-toWear show at New York Fashion Week, some of the most recognizable names in modeling walked down the runway, the entire room drenched in blue with light bulbs hanging from the ceiling as if to mimic a dreamy night sky. Stella Maxwell, Adriana Lima, Bella Hadid, and more stunned in pretty pastels, patchwork mini skirts, and sky-high platform heels. While fashion critics loved the show, many Internet commenters saw one major issue: all of the models donned pastel dreadlocks.

The designer was swiftly accused of cultural appropriation, with critics pointing out that the dreadlocks hairstyle bears significance for, and was originated by, people of color. Others reminded Jacobs that many black people are chastised for wearing dreadlocks, while his models wear them as an edgy fashion statement. This point was especially relevant as a U.S. Circuit Court of Appeals ruled that banning dreadlocks in the workplace is legal the very same week as Marc Jacobs’ runway show.

For many people, watching his nearly all-white cast of models strut down the runway in their pastel ‘locs just added insult to injury.

While people of color are being discriminated against in the workplace for looking “unprofessional” because of their hair, Marc Jacobs’ use of the same hairstyle is praised as artistic innovation.

Hairstylist for the show, Guido Palau, went so far as to say of Marc Jacobs, “Something that we’ve bypassed on the street and not really looked at, or seen a million times, he makes us look at it again in a much more sophisticated and fashionable way.”

Written by Paulina Cam-

He went on to identify “rave culture” as his inspiration for the look, a sorely misplaced attribution that doesn’tgive artistic credit to the people of color that inspired those club-kid fashions.

While this particular runway show garnered major media attention, the issue of cultural appropriation is not uncommon in the fashion industry.

From Givenchy’s “Victorian Cholas” in 2015 to Valentino’s “Africa-inspired” show, complete with cornrowed hair that featured just eight models of color out of a total of ninety, the fashion industry’s attempts at using cultural inspiration tend to fall flat. Instead of a vibrant celebration of cultural traditions, we are left with a reductive interpretation that does not involve a real understanding of the culture being presented.

In looking for the reason fashion houses don’t learn from these tired mistakes, it’s important to look at who is running these shows: it doesn’t take long to identify a major representation problem.

On the runways, there are limited opportunities for models of color, despite a recent push in online activism encouraging more diverse shows. For the Fall 2016 season, less than 25% of models were people of color, The Fashion Spot reported. During that season, Balenciaga, an influential name in fashion to say the least, only included one nonwhite model in their runway show.

The influencers behind the scenes don’t fare much better in terms of diversity. Designers, creative directors, and editors-in-chief of fashion magazines are overwhelmingly white. While publications like Teen Vogue are leading the push

photo from CNN.xom

for diversity, most notably with the hiring of editor-in-chief Elaine Welteroth, these instances are still the exception rather than the rule. The demographic makeup of those calling the shots in fashion do not mirror the increasingly diverse set of high fashion consumers. In order to take inspiration from nonwhite cultures in a tasteful and celebratory way, fashion houses first need to diversify their leadership and to amplify the voices of people of color in fashion.

Those who defend designers like Marc Jacobs and don’t see cultural appropriation as a problem usually ask how it is possible to take inspiration from the vibrant cultures all around us without offending. This kind of cultural appreciation is possible, but several steps need to be taken to get it right. Increasing diversity is the first step, both on and off the runway.

It is necessary in the creative and design processes, so that there can be a variety of perspectives, a fresh set of eyes to catch overlooked details or careless handling of the fashions of other cultures, including those that may lead to insensitive artistic decisions.

Further, a designer interested in taking inspiration from a culture that is not their own must learn about the significance behind the hairstyle, jewelry, or traditional dress they want to incorporate in their designs. In addition to avoiding cultural appropriation, a better understanding of the culture also allows for better designs and a more meaningful collection.

Despite many missteps, some designers have actually gotten it right. One recent example is Zac Posen at his Fall 2016 show. The white designer, who enjoys mainstream success and frequent red carpet appearances, took inspiration from Princess Elizabeth of Toro, a Ugandan lawyer, politician, and model. In addition to being an “It girl” of her day, the princess was alsothe first East African woman to be admitted to the English Bar. The collection incorporated different aspects of the princess’s life, riffing on vibrant prints and wrap silhouettes in addition to wool coats and suits. Here, Posen’s interpretation is not simply a generic, vague quotation of the styles of Ugandan women, but a specific, well-researched allusion to a woman of color in which his inspiration is also properly attributed.

Posen also put on a runway show consisting entirely of non-white models, before posting the hashtag #blackmodelsmatter on his social media pages.

While Posen’s runway show demonstrated how white designers can nod to another culture without

thoughtlessly appropriating it, what we need to see more of in the fashion industry are designers of color showcasing their point of view and celebrating their culture on their own terms. Just a week after Marc Jacobs’ pastel dreadlocks rocked the Internet, London-based designer Ashish Gupta put on a show that celebrated his Indian heritage with a “Western” twist that made it all his own.

The collection incorporated traditional Indian fabrics, embellishments, and jewelry while tying in Western silhouettes, such as T-shirts and A-line skirts. Male and female models wore extravagant headpieces, ankle bracelets, and dramatic nose rings.

This melding of traditional Indian styles with a more Western style of dress was only possible through Gupta’s deep attachment to and knowledge of these cultures. Furthermore, the show was a celebration of multiculturalism in England in the aftermath of the Brexit vote and a resounding xenophobic sentiment in parts of the country. At the end of a noticeably diverse runway show, the designer appeared to the audience in a white T-shirt with the word “Immigrant” printed boldly on the front in black type.

Gupta’s collection is just one example of the beautiful and important art that is made when culture is celebrated and appreciated, not appropriated. The designer brought his unique knowledge, experiences, and perspectives to present something that felt fresh and meaningful. We lose out on this kind of art when people of color are underrepresented in the fashion industry. In order for cultural influences in high fashion to morph from appropriation into appreciation, the fashion industry must promote diversity on and off the runway, behind the camera, behind the sketchbooks, and in the boardrooms.

Gaining inspiration from another culture is not a problem in and of itself; however, designers must put thought and care into how it is done, lest they repeat Marc Jacobs’ mistake.

photo from The Daily Front Row

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MAKEUP Photographed by Julie Chang Modeled by Em Wilder and Helen Liu

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THE POLITICS OF FASHION Written by Naz Gocek Photographed by Julie Chang Modeled by Esther Tsvayg

The concept most commonly associated with fashion is self-expression...

The clothing we wear allows us to visually represent different aspects of ourselves, be it our mood, interests, or beliefs. Our society is defined by visual dialogue--it is often the first line of communication between strangers. It is thus possible to take a more macro approach to expression in fashion: clothing is not just about the self. Fashion has become a shared language and thus a shared experience. Individual clothing choices aggregate to define the culture, beliefs, and opinions of entire societies.

Opening Ceremony’s Autumn/Winter 2016 collection show notes expressed this sentiment perfectly: “When we get dressed, we make decisions about which aspects of ourselves to present to the world. When we asked our friends about the issues that matter to them… immigration, economic inequality, police brutality and gender discrimination, among others - we were struck by how many of them hinged on the ability to express one’s identity freely.”

The desire to take a stance on issues and facilitate a dialogue isn’t limited to the day-to-day world; designers frequently use the catwalk as a platform for political discussion. This isn’t a particularly new phenomenon, as fashion has always been political. Runways have been stages for implicit statements. For example, Coco Chanel challenged gender norms with androgynous cuts. In 2000, Hussein Chalayan discussed the issue of forced migration and immigrant displacement by making his models strip the covers off furniture and wear them as dresses. The past century has also seen the popularization of slogans. From Vivienne Westwood’s anti-Thatcher

slogans to Katherine Hamnett’s iconic “58% are opposed to perishing” T-shirt, referencing a shared opposition to nuclear missiles, expressionism on the catwalk suggests that our internal world, be it in turmoil or celebration, ought not be silenced to appease onlookers.

The politicization of fashion gained a significant momentum in the past few years. 2016 had a lot of game-changing events that are bound to redefine world order in the upcoming years.

Britain voted to leave the European Union. The far-reaching economic, political, and cultural implications of the Brexit led to debate all over world, and of course, in Britain. British designers used the London Fashion Week to declare their stances. Most notably, before his show, Daniel W. Fletcher staged a sit-in outside of his show site and had his models wear “stay” hoodies and T-shirts. At the end of their show, The Sibling designers Sid Bryan and Cozette McCreery wore “stay” slogan tees while taking their bows.

There were more interdisciplinary controversies that involved fashion, politics, and religion.

In April, the French minister for women’s rights scolded designers like Marks & Spencer and Dolce & Gabbana for offering full-body swimwear and high fashion hijabs, accusing them of “promoting women’s bodies being locked up.”

Many designers stepped up to defend Muslim women, and more broadly, those who choose to express their religion through clothing. Anniesa Hasibuan took a revolutionary step in New York Fashion Week: she was the first designer to pair a hijab with every look in her show. Another intersection was finance: Pyer Moss’s collection

involved tees with Ponzi schemer Bernie Madoff’s face printed on them, and various items with “greed” spelled out.

National security was also a prominent theme, especially in 2015. Walter van Beirendonck, a famously vocal designer, took advantage of the fact that his show in Paris fell in the aftermath of the tragic Charlie Hebdo shooting. His show included a recurring eagle motif to symbolize resilience and a tank top with “stop terrorizing our world” spelled out in bright orange. And, lest we forget, the U.S. Presidential election. During New York Fashion Week, Anna Wintour, the editor of American Vogue, hosted a fashion show to benefit Hillary Clinton. Wintour wore a Jason Wu dress that featured a mosaic of the different states in shades of blue. Opening Ceremony’s presentation featured Natasha Lyonne and Whoopi Goldberg discussing electoral issues and promoting the efforts of Rock the Vote, an organization with the goal of increasing political participation.

The popularization of overt political messages in fashion can be attributed to a few factors. One is the sheer magnitude of the effects of some current events: the American presidential election,

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for example, always becomes a hotly discussed topic around the world since American foreign and domestic policy affects a lot of people beyond America’s borders. Another factor is increasing the prominence of the media. Beyond television coverage, there has been a rise of voices online, such as multiple videos of the Young Turks--a leftist talk show--and Tomi Lahren--a voice for the right--going viral. People feel more and more encouraged to share their opinions, and fashion is one of the many avenues that they choose. In addition, there has been a change in the norms surrounding fashion.

An increasing number of designers are using their platform to inform the public about current events and demonstrate their own stances on political issues. Vivienne Westwood once proudly exclaimed, “I just use fashion as an excuse to talk about politics.

Because I’m a fashion designer, it gives me a voice, which is really good.” The intersection of fashion and politics is valuable: it reinforces the important roles creativity and expression play in a society and spreads information in unconventional, eye-catching ways. Fashion is not just about the self--it is about you, me, us, and them. None of those groups exist in a vacuum.

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Photographed by Iman Floyd-Carroll and Ashley Overbeek

ISURE Modeled by Jenny Nova, Jennia Raijei, Claire Womack

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apparel courtesy of Neiman Marcus

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Cover Photo by Iman Floyd-Carroll Modeled by Alexandra Risberg

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