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Spring 2018 / The University of Chicago


Jen McIntosh & Maya Rodriguez Daniel Chae Krishna Mukkavilli Jen McIntosh Andie Fialkoff Stefan Tesliuc & Jena Yang Saylor Soinski Natalia Rodriguez Sarah Eikenberry & Louis Levin Marie Parra & Angela Liu Carla Abreu & Cecelia Sheppard


Eleanor Dunietz


Andrea Li, Amelia Frank, Brandon Huang, Hugo Barrillon, Jen Teng, Martina Lentino, Maja Krol, Claudia Chirio


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Julia Rose Camus Stefan Tesliuc, Akaash Shah, Eri Rogers, Perri Wilson, Jendayi Jones, Jahnee Armstead, Roz Joyce, Riya Malik


CONTENTS 5 6 8 10 12 14 16 18 20 22 30 40

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Letter from the Editors #METOO Takes the Spotlight Naomi Watanabe is Brand New The Rise of Ironic Fashion Brand Responsibility Combating Sexual Assault In the Fashion Industry Ownership in Fashion: A Supereme Case of Appropriation “Nothing Tastes as Good as Skinny Feels” Ultra Violet: The 2018 Pantone Color of the Year Frozen Over Essence Ponder

LETTER FROM THE EDITORS As with a majority of things that happen in our young adult lives, we enter into and experience constantly a cycle of design and improvisation. It is hard to not notice this and it is certain that we will manage it for the rest of our existence. We often talk about this in exasperating ways due to the time and trials that are attached, but the cycle helps us mature and grow, as well as learn and teach others through it. The process of producing a quarterly magazine is a constant example of this cycle that all members of this team understand and work through. This issue reflects the idea of designing a plan and effectively improvising in the methods and materials that we present here. In the features section, writers call on the fashion industry to take ownership of what is going on and change the course of where brands and individuals are going today. Martina Lentino calls on Supreme to take ownership and acknowledge the roots of the artist who inspired what they stand for and Brandon Huang and Hugo Barrillion speak to consumers to act when fast fashion brands make questionable decision often not for the best. Jen Teng and Andrea Li write about the issue of sexual assault in the fashion and entertainment industries and how involvement and solidarity are ways to start making a tangible difference to change the cycle of assault. Finally, Amelia Frank, Maja Krol, and Claudia Chirio talk about the influences that can and have lead to a positive impact, ones that spark a conversation on inclusion and the future of the industry. Our shoots team quite literally embodied the idea of design and improvisation. Ponder collaborated with Luxury Garage Sale with blend various silhouette elements and the architecture of campus to produce a breathtaking shoot. Essence complements the facial structures of models by drawing inspiration from light and produce, giving ethereal feeling to the magazine. Frozen Over was undeterred by setbacks from recent snowstorm and used the landscape and one of our stylist’s personal wardrobe to its fullest extent. Each faced their share of obstacles during the planning process though the final results all show how the improvisation produces amazing outcomes. The industry and this organization is a testament to giving members the outlet to see their goals realized and to create solutions to presented problems that will also give marvelous results. I (Maya) have come to see and understand that going through this process is part of the personal, artistic, and sartorial growth that one hears about so often as a collegiate. If we think about fashion as a mode of experimentation and reflection, then we can realize how the trials we face show others how far we’ve come and also gives hints on where we can go. Designing a plan for how we wish our collegiate career to be is hard to follow, but through improvising and exploring, we are able to change for the better and are given the opportunity to find the things we love and want to be part of. MODA Magazine aims to do this for all who wish to partake in these processes, both in the past and in the future. The immense sense of pride and happiness that I have for this team and where they will go is indescribable. I thank them for all they have done for me and for everyone else who they will impact in the future. There is truly nothing else like this experience that I can compare it to. With gratitude, Jen McIntosh and Maya Rodriguez



rguably the largest and most public sexual assault movement in history, the #MeToo campaign put a name to the revolution occurring around the world. Accusations against President Donald Trump, Harvey Weinstein, Woody Allen, and Kevin Spacey - among others - brought the movement to the public’s attention. #MeToo is a social media stamp which enables victims of sexual assault to speak out about their experiences and stand in solidarity with each other using the hashtag. Tarana Burke created the hashtag after experiencing a moment when she felt unable to speak with a fellow victim and wished that she had said “me too”. Later in 2017, after allegations against Harvey Weinstein came to light, actress Alyssa Milano urged social media users to use the hashtag for the purpose of standing in solidarity with one another by sharing their traumatic experiences. With the ringing in of the new year, a group of Hollywood celebrities - including Shonda Rhimes, Reese Witherspoon and Natalie Portman - created the Time’s Up Initiative. This was a drive dedicated to catalysing change in order to create a safer and more supportive environment. Time’s Up is supported by over four hundred prominent figures from Hollywood, all of whom share the goal of ensuring this revolution has a long-lasting impact. At the red carpet of the Golden Globes in January of 2018, the #MeToo and Time’s Up movements took a public stance. The women and men walking the red carpet had an unspoken agreement to wear black outfits to the event. Celebrities used cloth-

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ing to express their support for the Time’s Up movement with an overwhelmingly large number of celebrities following the dress code. Several of the founding members of the initiative also invited prominent activists as their guests to the Golden Globes. Emma Stone brought Billie Jean King - an advocate for women in sports - Michelle Williams was accompanied by Tarana Burke. Some other prominent activists present were Saru Jayaraman - an activist lawyer - joined by Amy Poehler, Ai-jen Poo -executive director of the National Domestic Workers Alliance -accompanied by Meryl Streep, and Marai Larasi -an advocate for marginalized European women and children - present with Emma Watson. This agreement to wear black was carried out by most everyone, with the exception of three women who chose to veer away from the standard dress code. Barbara Meier, a German model, chose to wear a pale blue dress with feathers on the train and embroidered fabric. Blanca Blanco chose an asymmetrical velvet red dress with a large keyhole cutout and high slit. Neither of these two women commented on their choice of clothing contrasting with the somber dress code of the other celebrities present. The last woman who chose not to wear black was Meher Tatna, the president of the Hollywood Foreign Press Association. Tatna wore a red dress with gold embroidery, an ensemble she stated had cultural significance for her mother. Meher Tatna reported her choice in dress as being symbolic of the celebration of the 75th anniversary of the awards show. However, she did declare her solidarity with the Time’s Up initia-

tive and sported a Time’s Up pin. In a way, the all black affair was difficult for men to have creativity with. With that in mind, many men took to wearing a Time’s Up pin on their lapel in addition to a black suit. Veering away from the historical ribbon as the preferable mode for protest, the black and white pin served to make a bold statement. However, whatever statement the men did make with the pins was undermined by lack of discussion during red carpet interviews. The all black dress code of the Golden Globes opened a different door for the celebrities on the carpet. Instead of standing out in terms of dress color, they expressed their individual fashion senses in terms of fabric, cut and style. Issa Rae with her train, ruffled shoulders, high slit and deep V-neck was among those who stood out in the crowd. She serves as a prime example of those who took the dress code and made it her own. Others wore velvet, sequins, and lace to achieve the same effect. All in all, black is a quite a somber tone. With the association of black with the Time’s Up initiative and the #MeToo movement, the color took on a new meaning at the Golden Globes. No longer was it merely a classic move or dare I say, safe and boring, but instead the color black represented so much more. So take notes from the dress code of the Golden Globes. Take ownership of your story, the way you tell it, and the methods you use to support others and catalyse change. Time’s up.





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Naomi Watanabe is BRAND NEW Naomi Watanabe kneels on a silver platter, her legs shimmering through stockings the copper color of a roast chicken. Her skirt is silver and domed like a dish cover, and she is surrounded by tableware -- cutlery, wine, a butter dish, salt and pepper shakers, and cookies -- scattered across a pink tablecloth. A bright orange wig cascades down the side of her arm as she gazes intensely into the camera, manicured fingers splayed. Her white heels are shaped like high-fashion turkey booties. This image is from a shoot with photographer Yuni Yoshida, and epitomizes much of Watanabe’s brand: she is humorously self-deprecating, stylish in unexpected ways, and unabashedly food-loving. Weighing 220 pounds, her sudden success seems against all odds in Japan, where the average woman weighs only 115 pounds. And yet, since the 2008 Beyonce lip-sync that sparked her rise to fame, the 30-year-old has accumulated 7.6 million followers on Instagram, starred in GAP’s most recent campaign, and founded her own very successful fashion label, called “Punyus,” an onomatopoeic word translating roughly to “chubby.” Her face is plastered across billboards and trains, complete with her signature glittery eyeshadow and braided pigtails. Naomi Watanabe is big in Japan, and she’s changing the game. It’s about time. Japan is notorious for its super-skinny culture, with laws mandating maximum waistlines (33.5 inches for men and 35.4 inches for women) and clothing generally coming in only one size (a small). Fat women in particular are often the butt of jokes, and Watanabe, who started her career as a comedian, played into this at first. One of her earlier viral videos shows her dancing to Desiigner’s hit song “Panda” in an unflattering two-piece bumblebee costume; her Beyonce and Lady Gaga impersonations are, in part, seen as funny because she is overweight, because she is unashamed, because her body is different and on display. But her Beyonce and Gaga impersonations are only the beginning of a journey that Lena Dunham has called “kind of radical.” Watanabe is radical -- and in a brand new way. In fact, she is able to artfully combine the types of subversion represented by Dunham, Beyonce, and Gaga. She uses self-deprecating comedy in the style of Dunham (and Amy Schumer and Jennifer Lawrence, although I would argue that she is quite a bit funnier); she knows how to make a statement like Beyonce (who exemplifies a form of empowered independence perhaps akin to Ashley Graham and Demi Lovato); and she presents herself in a way that is completely new to the mainstream like Gaga (and, perhaps, like Bjork). She is comedian-woman-alien, unruly in her performances but shrewd in her projects, championing a radically new aesthetic and commanding respect while she’s at it. Watanabe’s most powerful legacy is probably this new aesthetic. “In Japan, larger-sized women couldn’t wear what they wanted,” Watanabe said in an interview with the Washington Post. “Of course, larger women want to be fashionable too but there weren’t any fashionable clothes for us.” Noticing the lack of stylish options for plus-size women, Watanabe took matters into her own hands, starting her clothing label “Punyus” and encouraging a trend called “pochakawaii,” or “chubby cute.” And, along with being funny, empowered, and offbeat, Watanabe is pochakawaii, sporting cute graphic tees, pink fluffy coats, and a charming smile. (The “Punyus” store’s top two bestsellers are currently baggy sweatsuit sets patterned with drawings of lemons and fried eggs, respectively.) The way Watanabe presents this new “pochakawaii” look is arguably as novel -- and important -- as the aesthetic itself. She doesn’t dictate trends from above or claim any real fashion authority; in fact, she often undersells (or maybe underestimates) her own influence. “I’m not like Beyonce, being a powerful woman,” she claims. She also veers away from explicitly politicizing her project or trying to affect change from the top, joking that it’s fortunate high-end brands like Gucci, Louis Vuitton, and Chanel don’t carry her size, or else she’d go broke. In an interview with Vogue, she admitted her fear of “the fashion world,” calling it “very intense” and explaining, “I see it as a huge, shiny, and beautiful pool. I just dip my tiny pinky in there, get scared, and jump back out.” Instead, she speaks directly to her most important audience: plus-size women. Acknowledging that plus-size women are often not accepted in Japan, she explained that “rather than trying to change other people’s minds, I would like to help change the minds of bigger women, to help them feel good about themselves.” Her Instagram posts are often humorous confessions, as if relaying embarrassing stories to a close friend. In a country where 22 percent of women in their 20s could be classified as underweight, Watanabe speaks to women on the opposite end of the spectrum. In shiny skirts and patterned swimsuits, Naomi Watanabe is paving the way for others to follow in her footsteps - to be “marshmallow girls” in bright and tight clothing, to be unashamed of their bodies in a country that often tells them the contrary.

9 Article By: Amelia Frank, Photo by: Yuni Yoshida



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nti-fashion. It is the last thing you would expect a fashion magazine to be writing about. Ironically, anti-fashion is currently one of fashion’s largest trends. Its rapid ascent into the upper echelons has morphed fashion into an industry where the latest trend is often synonymous with the latest viral meme. This rising “trend” has been adopted by some of the most famous luxury brands and has no sign of losing momentum. Supreme is perhaps the most recognizably ironic, jokedabout, memed-about, and hyped brand in the world. Every urban millennial has heard of Supreme, whether it was the brick from FW ’16, air horn from FW ’15, the “Fuck Bush” sticker from 2005, or just the Supreme box logo. Since the early 2000s Supreme has been well known for its ironic sense of humor and is one of the brands leading the anti-fashion charge. Started in 1995 with deep roots in skating culture, it only makes sense that Supreme has developed into the anti-establishment, rule-breaking brand with the serious cult following it has today. This overwhelming popularity, however, is what makes Supreme so ironic. The customers of Supreme, while attempting to be anti-establishment, are at the same time spending thousands of dollars on a basic hoodie. These customers are trying to maintain the edgy street aesthetic while buying into the massive establishment that is Supreme. On the high-end side of the ironic fashion world is Balenciaga.

From its Bernie Sanders inspired FW17 collection to its most recent collaboration with Crocs, Balenciaga is at the cutting edge of anti-fashion. Founded in 1919 by Cristóbal Balenciaga, the luxury fashion house has only recently entered the anti-fashion world after Demna Gvasalia took over as creative director in 2015. His recent take on the infamous anti-fashion Croc silhouette instantly sold out despite a retail price of 900$. Just like Supreme, the irony behind Balenciaga’s success has many levels beyond the design of the pieces. By taking classically affordable and unfashionable items and warping them into pinnacles of high-fashion, Balenciaga is poking fun at their hype-beast followers who are now rocking thousand-dollar Crocs and Bernie Sanders inspired apparel. Demna Gvasalia’s love of anti-fashion extends even further beyond his antics at Balenciaga. Vetements, his personal brain-child, has recently taken the fashion scene by storm. Founded by Mr. Gvasalia in 2009, Vetement has been pushing knock-off fashion further than ever imagined. Mr. Gvasalia is an expert at taking classic brands and turning them on their head with unhinged silhouettes and absurd prices. His $250 DHL-copied t-shirt earned his new brand instant publicity as the face of the anti-fashion movement. His take on the Champion hoodie blatantly takes the classic “C” logo and literally turns on its side turning into the “V” in Vetement. The hoodies also pushed the oversized trend with these “Champion” hoodies at least 5 sizes larger than a true to size

fit. His recent collaboration with Levi’s features deconstructed denim with “Vetement” branding plastered all over his designs with retail prices into the thousands of dollars. Fashion’s direction toward irony is a product of internet culture and an attempt to be unique during a time when originality seems to be scarcer than ever. Hundreds of humorous fashion blogs have emerged so that people all over the world can discuss the latest trend or stolen design. Instagram blogs like @diet_ prada and @fugly____ are followed by hundreds of thousands of fashion aficionados and regularly mock the ridiculous products released by these famous fashion houses. Now it is even easier for people to make fun of the obvious, yet somehow fashionable, plagiarism that has become a staple of the fashion world. Most recently, @diet_prada went after Dolce & Gabbana, an Italian luxury fashion house after they blatantly copied Gucci’s ghost logo. This led to a fiery Instagram war between diet_prada and Stefano Gabbana, the co-founder of D&G. These types of interactions, while humorous, also help push fashion to a growing audience of young people who will be the designers and influencers of tomorrow. Soon the likes of Balenciaga, Vetement, and Supreme will be releasing their own edible (or not so edible) tide pods pushing the wave of anti-fashion even further in the vast world of fashion.


Riccardo Tisci for Givenchy’s “Chola Victorian” show



hat do the Star of David, the jungle, Kent State University, Chinese gowns, and pink triangles all have in common? Interestingly enough, this isn’t a bad riddle – it’s bad branding. For those of you unfamiliar with the most recent scandal of poor taste, earlier this year, H&M came out with a childrens sweatshirt with the words “Coolest Monkey in the Jungle” written across the front. Seemingly harmless, controversy began when the multinational retailer used a black boy as a model for the sweatshirt. This insensitive marketing decision seemed to draw a parallel between black people and their historical, dehumanizing portrayal as monkey-like. This is just the newest example in a long history of retailers creating insensitive clothing or advertisements such as Zara’s Star of David children’s shirts, and Urban Outfitters’ seemingly blood-stained Kent State sweatshirt. With over 2100 stores in 88 countries and 15.4 billion euros of net sales, a brand like Zara has a platform to influence what people think and wear, and they have a responsibility to promote respect and not perpetuate stereotypes or portray sensitive moments with insensitivity. Fast fashion brands are not the only offenders of cultural respect and white-washing, however. Time after time, we see high fashion brands debut runway looks stolen or stereotyped from cultures with the excuse that it is for the art of fashion. The 2015 Met Gala exhibit, “China Through the Looking Glass,” is a perfect example of this

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cultural appropriation in fashion. John or not to make insensitive and shocking Galliano’s stereotyped image of Chinese clothing, whether it be for the masses or for “TIME AFTER TIME, WE SEE culture in Dior’s Spring-Summer 2007 the runway. In an era of progressivity and HIGH FASHION BRANDS DEBUT show presented in this exhibit was just one RUNWAY LOOKS STOLEN OR respect, keep up with the times and promote example of the overwhelmingly white and STEREOTYPED FROM CULTURES a more wholesome worldview instead of Western portrayal of Chinese culture and perpetuating stereotypes. WITH THE EXCUSE THAT IT IS appropriation. These moments of racism in As for you, the consumer, stick up the fashion world are often excused in high FOR THE ART OF FASHION.” for what you know is right. Let designers fashion because there is a stronger idea and brands know when they have made of art and high culture than in mass-produced fashion, but a mistake. It isn’t necessary to stop buying clothes from brands like Dior and Valentino should be held to the same retailers entirely, but when an item seems offensive, hold standard as brands like Zara and H&M. them accountable. In an age of social media, it is even easier Multinational retailers are considered fashion for the to call out brands, and we should all be using these tools to masses, and their lack of responsibility that is shown through our advantage. Most importantly, as untouchable as it may their missteps begs a serious question. How many minorities be, high fashion still abides by the rules and expectations of are represented in their companies? Marketing decisions society, so if I leave you with anything, let it be the confidence and brand portrayals have to be approved by a multitude to call out the likes of John Galliano, Marc Jacobs, and Zara. of people, but H&M’s sweatshirt and Zara’s t-shirt only makes one wonder how many minorities were there to sign off on the decisions. For both high and fast fashion, brand responsibility seems to be a foreign concept. To the retailers and fashion houses: instead of looking for “inspiration” without regard for the cultural connotations and context, acknowledge the importance of certain symbols and costumes by portraying them with respect and accuracy to their mother culture. Moreover, use a more discerning – or more culturally aware – eye when deciding whether riGHT AND BOTTOM RIGHT: mARC JACOB MADE MODELS WEAR DREDLOCKS AND vALENTINO’S 'wILD AFRICA’ shOW

Photos: Givenchy, The Cut, Vogue, Lilian Pacce

Met Gala: "China Through the Looking Glass”


According to the Model Alliance, data demonstrates that models are placed in vulnerable positions. 54.7% of models begin working between the ages of 13 to 16. 28% of surveyed models stated that their parent or guardian never attended castings or jobs with them.

After decades of being relegated to the shadows, the prevalence of sexual assault in the media and film industry has been thrust to the forefront following the accusations against Harvey Weinstein. After a few individuals came forward, their actions spurred a revolution. Seeing the bravery of these women and men, and recognizing that they were not alone, victims began to speak up against those who had wronged and violated them. The #MeToo and #TimesUp movements demonstrate the wide scale in which these crimes were and are occurring. However, these movements did not stop there, and spread beyond Hollywood into the fashion industry. Now, some of the most renowned photographers stand accused. Photographers such as Mario Testino, Terry Richardson and Bruce Weber, long seen as pioneers and key figures of the fashion industry are now faced with the accusations of dozens of models and assistants for inappropriate behavior. Claims of sexual assault have surrounded Richardson since 2001, but they have not been acknowledged until recently. All men have denied the claims. Nevertheless, Vogue Creative Director, Anna Wintour, has stated that the magazine will not be working with these photographers in the “foreseeable future,” according to the New York Times. Conde Nast has also stopped working with these photographers. This refusal to work with those accused of sexual assault sets an important precedent of zero tolerance in the fashion industry. According to the Model Alliance, data demonstrates that models are placed in vulnerable positions. 54.7% of models begin working between the ages of 13 to 16. 28% of surveyed models stated that their parent or guardian never attended castings or jobs with them. Additionally, success in the fashion industry often relies on a model moving to a large city. Often times, the model’s family cannot overcome the financial barrier necessary to move to a new locale. The Model Alliance further highlights the toll this profession can take on an emotional level. It records that 68.3% of models suffer from depression or anxiety. Some of these issues may stem from exposure to illegal substances. Models estimate that 76.5% have been exposed to drugs and/or alcohol while working. The combination unattended and impressionable young models along with aforementioned work-related hazards leads to an environment ripe for infringement of its workers. In a culture where increased risk is the unfortunate status quo, sexual assault/objectification is all too prevalent and appeared to be normalized based on this frequency and lack of punitive measures. Model Alliance reports that 86.8% of models have been asked to be nude without advance notice. Of that percentage, 27.5% of models posed nude because they felt they needed too, despite their personal qualms and discomfort. 29.7% of models reported being touched in-

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appropriately while working, while 28% of surveyed models reported being pressured to engage in sexual relations with someone at work. Model Alliance is a non-profit organization that delves into research, policy, and advocacy, hoping to make the fashion industry safer and more equal. Founded by Sarah Ziff in 2012 with the support of other models, the organization has been instrumental in the publicity of passing several bills (one that would give child models the same protection as other child performers in 2013) and studies (81.5% of models have an underweight BMI in 2017). As the Model Alliance exemplifies, the industry is fighting back. Model Cameron Russell posted stories submitted anonymously by other models on her Instagram. She included the hashtag #MyJobShouldNotIncludeAbuse, highlighting how safe working conditions are not a privilege but should be a right across all lines of work. Recognizing how essential it is to fix this devastating issue, work has begun to combat sexual assault through far-reaching policies and legislation. New York State Assemblywoman Nily Rozic in conjunction with the Model Alliance has drafted a bill titled the Model’s Harassment Protection Act. Under this bill, it is noted that the terms apply to models whether they are independent workers or are hired under an agency/are employees. Currently, as most models are independent workers, they are excluded from the legislative protections guaranteed to other workers. Additionally, according to Women’s Wear Daily, some New York modeling agencies qualify themselves as management companies and violate the “incidental booking” clause, meaning that they can avoid certain accountabilities with regards to their clients. With all of these implementations, it seems clear that the fashion industry has taken a stand, and time is indeed up.



Article by: Jen Teng, Graphic Courtesy

ual Assault


y Of: Creatik


Ownership in Fashion:

A Supreme Case of: Appropriation Photo: Focus Magazine

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The founder of Supreme, James Jebbia


By: Martina Lentino propriation, copying, and knockoffs in fashion have historically been a given. Fast fashion takes its most sought-after styles from the season’s most influential designs: Gucci’s recent renaissance, for example, has “inspired” a variety of mainstream looks. In other, arguably more harmful cases, corporations like Zara, Forever 21, and Urban Outfitters take from small designers and artists; people who don’t have the money or the energy to fight back, and who probably never will. While copying is widespread and largely unnoticeable to the masses, one particular instance stands out in its unconventionality, provocativeness, and inappropriateness: Supreme. The skate and streetwear brand’s instantly recognizable logo is exactly the same as the text used by Barbara Kruger in her influential artwork. Supreme’s logo is not only infuriating in its unashamed copying, but also completely disregards the conceptual and ideological framework that Kruger’s typeface works with, effectively inverting meaning and creating an interesting power play. Supreme, launched as a small brand in 1994 by James Jebbia, is now a billion-dollar empire. Since its inception and subsequent rise to household name, Supreme has distinguished itself via its now-iconic logo: white, bold letters in Futura font that read “Supreme” and contrast starkly with a boxed, red background. Jebbia has been quoted saying that the logo is “inspired,” by Barbara Kruger’s iconic text, but it is more than verifiable that the logo is a direct copy of a key element in Kruger’s work. Barbara Kruger rose to fame in the 1970s and is still producing work today. She is best known for pieces that feature black and white images that more often

than not depict women and are taken from mainstream media. These images are then overlaid with provocative, double-edged phrases in her classic white bolded Futura font, in red text boxes or strips. Kruger does not have, and does not want, legal rights to the Futura typeface that she overlays, which makes it easy for brands to replicate it in their designs. In 2013, Supreme sued Married to the Mob for $10 million for their t-shirt design which reads “Supreme Bitch,” again in white Futura font on a red background. Married to the Mob had been making and distributing this design, also an offshoot of Kruger, since 2004. When asked for comment

“Supreme’s logo is not

only infuriating in its unashamed copying, but also completely disregards the conceptual and ideological framework that Kruger’s typeface works with, effectively inverting meaning and creating an interesting power play.”

by Complex, Barbara Kruger replied in an email which was completely blank save for an attachment titled “fools.doc.” This email read: “What a ridiculous clusterfuck of totally uncool jokers. I make my work about this kind of sadly foolish farce. I’m waiting for all of them to sue me for copyright infringement.Barbara Kruger.” Kruger’s short email attachment points to a key point regarding Supreme’s appropriation of her visual

language, which is arguably the most striking component: the fact that, in borrowing from a postmodern, conceptual artist dealing with social themes, Supreme also misappropriates sociopolitical ideology and inverts everything that her work stands for. The phrases used in Kruger’s iconic typeface are generally meant to be subversive, double-edged messages that relate to the background image by calling into question the viewer’s relationship to capitalism, advertising, mainstream media, and the patriarchy. Kruger’s work effectively critiques and rejects these structures that prevail in society, and is known for doing this. As such, Supreme, a capitalistic streetwear brand, represents the complete opposite of this message, and even corrupts it. The brand makes the typeface not the subversion of mass media or consumer capitalism, but rather its embodiment. It is thus easy to be angered by Supreme’s deliberate and unapologetic use of Kruger’s typeface, and interesting to note not only its relationship to fashion, but to the art world and to the ideology especially visible in the artist’s key pieces. Supreme’s use of Kruger’s typeface inspires a kind of power play, both at the level of the social, and at the level of brand vs artist. Although Kruger has yet to make a concrete statement against Supreme, battle them in court, or even directly address them, she crafted an interesting set of pieces for the Performa 17 Biennial in New York last year— she copied Supreme by putting a series of phrases on Metrocards, had phrases in her typeface all over a skatepark in Chinatown, and collaborated with Volcom for a performance piece in SoHo.


“Nothing Tastes AS GOOD AS SKINNY FEELS.” By: Maja Krol

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Photos: SawFirst, Love Advent Magazine, Getty Images, Beacon of Elegance, Victoria’s Secret, Gossip Picture Blog, Elle


ne of the most famous quotes by Kate Moss meticulously reflects the mindset today’s society has embraced. We have endorsed a numerical judgement of everyone around us, defining people based on their height and mostly weight, rather than their ambition or inner beauty. The idea of being a size zero not only became a competition but also evolved into a trend of absurd obsession. It seems as though humanity is assaulted by depictions of slender, immaculate, beautiful women. The perfect image was originally desired by Hollywood stars as well as fashion models, but eventually, other girls began to obsess about molding themselves to look like others. Soon it became a rivalry between how skinny a woman could get and what qualifies as being healthy. Initially, models were obliged to advertise their clothing product in a particular way, presenting it as best as it can be. These days, it’s as if the models are the pivot point of fashion shows and advertisements, while the clothes are inconsequential. There appears to be more emphasis placed on the shape of a models body rather than the actual piece of clothing- it seems as if the clothing is just an addition to the “ideal” body. Portraying women in such a flawless manner causes many to focus primarily on their desire to look like the particular model while completely neglecting the actual piece of clothing. It seems as if there is a mentality that skinny models sell products and thus, present the clothing in a desirable way. For the past decade Victoria’s Secret has been one of the fastestgrowing lingerie brands. They are supposed to solely advertise the beachwear they are wearing. However, it seems as if there is a big focus on portraying them in a desirable way making it more appealing. On advertisements, women are shown deceiving camera while revealing their “perfect bodies”;

flat stomach, thigh gap and long-limbed. Putting such an idealised image of how a perfect woman should look like, especially to the minds of girls, is extremely harmful. In addition, the “ideal” body pictured in those advertisements is extremely unrealistic- seems as if the model starved herself for weeks before the photoshoot. Could this be the fundamental driving force responsible for the steadily decreasing sales of the brand in the past year? As reported by the WWD, sales of Victoria’s Secret lingerie have been decreasing on average 10-14% most months. The feminist movement has become even more prominent in the last decade and women are starting to take a definitive stance against the objectification of their gender. Victoria’s Secret campaigns and fashion shows solely focus on presenting women as skinny, tall, and tan- showing the “perfect” body. This whole idea of a flawless body undermines the power and influence of women, and with the rise of feminism, women have been less inclined to shop at this lingerie brand. Victoria’s Secret appears to define femininity as being skinny, tall and “sexy”- it seems as if the company wants to show that the sexual portrayal is what gives women power. Similarly, the yearly Advent Calendar has sparked immense controversy. Despite the fact that the Love Advent calendar aims to promote feminism, it seems as if it is only able to achieve that by presenting women in a sexual and revealing manner. Women in lingerie are seen boxing, running, and performing other sports. However, why is that many are more focused on the women wearing their lingerie as opposed to promoting women empowerment that the Love Advent calendar is supposed to bring along? Whether it’s Kate Upton playing tennis, Gigi Hadid boxing with her unshaved armpits, or Emily Ratajkowski carb-loading, the message of the Love Advent calendar this year has an strives to have a fitspo fashion aesthetic. Nonetheless, the videos seem to present women in a vulnerable manner and has gotten feminists questioning whether those women doing what they want with their bodies is actually feminism. Some say the series actually undervalues the power of women and makes anyone who fails to adapt the narrow standards of beauty feel rather uncomfortable. Similarly, Victoria’s Secret portrayal of idealised women also contributes to the further emphasis on the narrow standards of beauty categorizing women based on their weight and fitness.


Article By: Claudia Chirio Illustrations By: Pantone and LaPetiteMascarade Photo By: H&M

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While it may seem impossible to define an entire year by a single color, Pantone has been attempting this feat for the past 18 years. Since 2000, Pantone has regularly released a Color of the Year that attempts to encapsulate and represent the current state of fashion, design, and attitudes in general. In fact, Pantone could very well take credit for one recent, major trend. Although released as one half a (surprise) duo of colors in 2016, Rose Quartz closely resembles the now-famous color of a generation — Millennial Pink. The duo of colors in 2016 was a clear statement, on top of contributing to the well-known trend. On Pantone’s website, they claim that Rose Quartz and the “tranquil blue”, Serenity, together portray a “soothing sense of order and peace,” as well as challenging “traditional perceptions of color association”. So although the pastel colors were extremely popular in decor, fashion, and makeup, they also served as “a nod to gender equality” (The Washington Post). The 2017 Color of the Year was a bright, but natural green shade, appropriately named Greenery. And while 2017 seemed relatively defined by protests and political unrest, it also signified a renewed sense of activism and purpose. Greenery was symbolic of that, with Pantone calling it a “refreshing and revitalizing shade” that “is symbolic of new beginnings”. However, for 2018, Pantone went with a fairly striking color, rather than a more cliché version of “new beginnings”. The purple shade, named Ultra Violet, “brings hope and an uplifting message” according to Leatrice Eiseman, the Executive Director of the Pantone Color Institute (The New York Times). However, at the same time, Ultra Violet has a rather rebellious quality to it that Greenery lacked. The color gives the sense of a fresh start, not by simply sticking to the status quo, but by changing it and defining a new direction for the future. The shade is extremely versatile, coming across as both a bold color, as well as a more subdued shade depending on usage and perspective. With the increasing trend towards maximalism and the use of bold colors and patterns, as seen on runways for brands such as Gucci, purple is the attention-grabbing color needed to make a statement. And with its mystical and cosmic qualities, Ultra Violet inspires the exploration of “new technologies and the greater galaxy” and “lights the way to what is yet to come” (Pantone). Purple is striking and meaningful, which is why Ultra Violet is such a powerful pick for 2018. “Enigmatic purples have also long been symbolic of counterculture, unconventionality, and artistic brilliance” with icons such as Prince, David Bowie, and Jimi Hendrix using the color as “personal expressions of individuality” (Pantone). The color promotes both creativity and unity, as the relation to counterculture suggests the resurgence of a resistance — one that is already being seen in the form of movements across the nation. Purple further proves its versatility, as it is a color of unity as well as individuality. Hillary Clinton perpetuated this idea of purple being a color of togetherness at her concession speech after losing the 2016 election. Donned in a slate grey suit, Clinton’s purple silk shirt and lapels stood out, representing, as she writes in her book What Happened, “a nod to bipartisanship” (Vogue). Considering the current, divided state of politics in the U.S., this combination of blue and red together is a powerful message to send. Although not every color can be the next Millennial Pink, Pantone is certainly skilled at picking colors that reflect current trends and attitudes, as well as promote a strong, optimistic view of the future. While 2016 and 2017 were about being grounded and realizing the current state of things, 2018 is about looking forward to a new horizon — one that is full of new ideas, changing attitudes, and a feeling of hope and unity for the future.



Frozen Over Photographer: Daniel Chae Stylists: Stefan Tesliuc and Carla Abreu Models: Stefan Tesliuc and Akaash Shah

This season’s shoot was inspired by the contentious relationship we have with winter. Winter can be dreary and when faced with subfreezing temperature functionality and form often clash. On the other hand, winter is liberating, our most treasured and weathered outer layers can come out and breath, we can play with layers upon layers of unique cuts and silhouettes. In this shoot we embraced the cold and showcased two distinct looks that demonstrate the capabilities for expression and individuality in this season.

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Photographer: Julia Rose Camus Makeup: Saylor Simon & Eleanor Dunietz Models: Jendayi Jones, Jahnee Armstead, Roz Joyce, Riya Malik



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Ponder Photographer: Natalia Rodriguez Stylists: Jena Yang & Cecilia Sheppard Models: Eri Rogers & Perri Wilson Clothing: Luxury Garage Sale

Clothing: Chanel Blouse


Clothing: Alaia dress,

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Clothing: Self-Portrait blouse


Clothing: Roksanda blouse


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MODA Magazine Spring 2018  
MODA Magazine Spring 2018  

The Spring 2018 issue for MODA Magazine, the University of Chicago's premiere student-run fashion publication.