Summer 2016 / University of Chicago
LETTER FROM THE EDITORS:
MODA Magazine 2015-2016
CO-EDITORS-IN-CHIEF Frances Chen & Maya Hansen
Every issue at MODA Magazine, our team sets out to explore a theme, a concept that ties together the creativity of each member of our team, and more importantly, the challenge that forces us to think more imaginatively, more originally, and more analytically about the world around us. We use the magazine as a space to collect and express our creative efforts. So this issue, we chose our most challenging theme yet: space, a concept our staff explored through just about every definition in the book. Space \spās\ noun 1. a limited extent in one, two, or three dimensions Our stylists and photo editor Albert Nam explored the Stony Island Arts Bank in “Color Me Up,” a physical space reimagined, a former bank re-envisioned and remodeled into a hybrid gallery, library, and community space. 2. a boundless three-dimensional extent in which objects and events occur and have relative position and direction Staff writer Alexia Bacigalupi highlights female entrepreneurs pushing the boundaries in the male-dominated business world, and Shayla Harris discusses the implications of the tourist industry and the commercialization of travel destinations. 3. physical space independent of what occupies it The shoot team took on our Hyde Park favorites in “Breakfast Club,” a tribute to the spaces we love and share that stay constant as students matriculate and graduate. 4. broadcast time available especially to publishers or advertisers Staff Writer Mahathi Ayyagari investigated Vogue Me, China’s new variation of Vogue dedicated to millennials in the face of government media censorship crackdown. 5. the opportunity to assert or experience one’s identity freely Our beauty team led by Beauty Editor Michelle DePorto explored beauty and makeup as an expression of identity for all people in “Transcendental.”
LAYOUT: Lauren Han, Maya Hansen, Kathy Zhou WRITERS & CONTRIBUTERS: Ada Alozie, Mahathi Ayyagari, Alexia Bacigalupi, Alexandra Blankenhorn, Kajol Char, Andie Fialkoff, Shayla Harris, Kathryn Hicks, Olivia Jia, Haley Kowalski, Andrew Nicotra Reilly, Anita Obasohan, Sana Sohail, Jen Teng, Angie Wan, Jason Zhao STYLISTS: Frances Chen, Liya Khan, Alexis Matthews, Igolo Obi, Kenneth Zheng MAKEUP & HAIR ARTISTS: Michelle DePorto, Andie Fialkoff, Saylor Soinski PHOTOGRAPHERS: Daniel Chae, David Farr, Albert Nam MODELS: Ilve Bayturk, Vanessa Farrante, Nina Gerdes, Tim Juang, Anya Marchenko, Sabine Nau, Temisan Osowa, Kriti Ramakrishnan, Teddy Watler, Julie Xu, Liam Zhao
Frances Chen & Maya Hansen MODA Magazine Co-Editors-in-Chief
A special thank you to Una Mae’s and Mankind for generously loaning us their clothing. Photos: Airbnb, Daniel Chae.
MODA Summer 2016
EDITOR-IN-CHIEF EMERITUS Rachel Scheinfeld EDITORIAL BOARD:
PHOTOGRAPHY EDITOR Albert Nam CREATIVE DIRECTOR & STYLING EDITOR Ogonna Obiajunwa WRITING EDITORS Sucheta Kinger & Krishna Mukkavilli MANAGING EDITOR Maya Rodriguez VISUAL DESIGN EDITOR Lauren Han FINANCE DIRECTOR & PR MANAGER Amutha Muthukumar BEAUTY EDITOR Michelle DePorto FEATURES EDITOR Meredith Esquivel STAFF ENGAGEMENT DIRECTOR Sana Sohail ASSISTANT STYLING EDITORS Liya Khan & Rohit Satishchandra (Abroad) ASSISTANT BEAUTY EDITOR Andie Fialkoff
TABLE OF CONTENTS
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MODA Staff Writers bring you the best destinations for every type of traveler.
Vogue China’s Editor-in-Chief is creating a new outlet for the generation that has grown up with the rise of technology.
THE RISE OF AIRBNB:
Airbnb is revolutionizing the tourism industry by bringing hotels to the home.
These young women are leading the charge and changing the male-dominated landscape of the business world.
FABRICS FROM OUTER SPACE:
The future of clothing always involved outlandish styles - but the advancements of fabrics show where we’re really heading.
BUILDING A BRAND:
Fashion houses have been successful not simply due to their clothing, but because their brands are composed of so much more.
THE COMMERCIALIZATION OF TRAVEL:
MODA Writer Shayla Harris talks capitalizing on your vacations - from paid Instagrams to Netflix-sponsored trips.
MODA Assistant Beauty Editor Andie Fialkoff details the origins of beauty standards.
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THE UBIQUITY OF THE “IT GIRL”:
Worldwide supermodels make it seem as if there is a universal beauty ideal - but is there really?
POP CULTURE BOUNDARIES OF ARTISTRY:
The pros and cons of celebrities stepping into the fashion world - when others have worked tirelessly to build their brands.
BREAKING SARTORIAL CEILINGS:
Kathryn Sargent is changing the game as the first female tailor on Savile Row.
Designers are showing the public that their clothes, and fashion, are more accessible than once thought.
THE SPATALITY OF FEMININE FASHION:
Our beauty team, like the fashion world, flirts with the rejection of traditionally prescribed behaviors and aesthetics.
KARLIE IN SPACE:
Part-time supermodel and full time role model Karlie Kloss is championing the women in STEM movement.
Our beauty team, like the fashion world, flirts with the rejection of traditionally prescribed behaviors and aesthetics.
More than just college students, MODA takes to the streets of Hyde Park to show there is more than meets the eye.
COLOR ME UP:
Summer is synonymous with sunny days, and we’re bringing the color to go with them.
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orth Avenue Beach offers a wide variety of summer activities, putting a new spin on the traditional beach experience. If water sports are something you’re interested in, you can rent kayaks at Kayak Chicago, jet-skis from Windy City Water Sports, and wakeboard/paddle boards at Great Lakes Board Company. If you’re looking to relax, outdoor yoga is offered through Sun and Moon Beach Yoga. No exercise or beach day would be complete without snacks. Castaways Bar and Grill offers food, cold drinks, an ice cream café, and a walk up burger stand. Make sure to check out North Avenue Beach! By Jen Teng.
MODA Summer 2016
MODA Staff Writers bring you around the globe with the best travel destinations for any kind of vacation
fter the storm that is an entire academic year at The University of Chicago, a much slower pace of life in the idyllic Key West is in order. This island city, situated in the southernmost point of Florida, is renowned for its pastel-hued iconic houses and laid-back attitude. Head to the Sunset Key Cottages for a beachy bliss of turquoise blue water that meets the stretches of pure white sand, as you lie in your hammock staring at the panoramic views of the Gulf of Mexico. Beyond the island’s fresh-fish, tropical fruit and Cuban cuisine centred menus, enjoy Florida’s best art and culture destination that has more of a cultural experience to offer than you might initially expect. By Anita Obasohan.
Photos: disney.com, lonelyplanet.com, wikipedia.com, natgeo.com, outsideonline.com, discoverythailand.com, walksofitaly.com
hether it be the perfect internship, visiting friends, or returning home for relaxation, the city of San Francisco is bustling in the summer weather. Living among the fastpaced busy-bodies scurrying down the sidewalks, it is necessary to take a breath and recenter among cafe chatter and espresso aromas. Four Barrel Coffee and Mamaâ€™s are two eateries definitely worth the bay-area hype. Likewise, when youâ€™re not crunching numbers in the office, spark your creativity with a trip to one of the many art centers. The de Young Museum is full of fine art to give your brain a mental coffee break. By Kathryn Hicks.
ith sensational views, volcanoes and luxe accommodations, Nicaragua is the next exquisite place for adventure-loving travelers to visit. Wander through expanses of pristine rainforest and Arcadian beaches, or hike up a few of the volcanoes or mountains, you are sure to encounter playful jungle monkeys and stunning views of the Caribbean. Explore the towns filled with brightly colored colonial buildings and then go try the strong coffee grown on local coffee farms. One of the safest places in Central America to visit, Nicaragua also boasts several lavish hotels, so after a long day out in the sun you can unwind in a gorgeous venue overlooking the luminous coast. By Alexandra Blankenhorn.
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VOGUE me How the magazine is carving a space for a new generation in a digital era
Article by Mahathi Ayyagari
ogue is a worldwide brand, occupying the fashion scene in places like the US, the UK, France, Italy, Brazil, India, South Korea, and China. But of all these places, Vogue occupies a particularly interesting space in the consumerist world of China, especially in light of the country’s new, strict regulations on digital media. In the summer of 2015, the company released Vogue Mini, an app that streamlines fashion, style, beauty, and lifestyle content, geared specifically towards China’s population of “post-Nineties” kids, the generation of kids in their late teens and 20’s. After noticing the success of the app and its digital content, Vogue China’s editor-in-chief Angelica
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Cheung also observed the lack of publications catered specifically towards this generation. The next logical step was to launch a magazine that catered to this younger, cooler population - enter Vogue Me. In an interview with WWD, Cheung said “I don’t call it Teen Vogue because it’s not a teen magazine. I don’t call it Vogue Girl because, again, it’s not about being young only; it’s about being cool and with an attitude. It’s not really defined by the age only. It could be someone in their late 20s, but having that kind of attitude and mentality that is growing in China.” Yet, the place for foreign companies wanting to distribute digital media in the Chinese market
is an interesting one due to the changing regulations. Despite the fact that heavy censorship already exists and popular websites like Google and YouTube are blocked, now all foreign companies are pseudo-banned from distributing digital content because of higher government scrutiny. Not all foreign media content is banned, but in order to get published, companies must negotiate with state officials and pass many hurdles. Despite tighter media regulation, Vogue Me is making a mark. When Cheung tested the audience before launching Vogue Me through Vogue China with articles featuring post-Nineties people, like Kendall Jenner and Kris Wu, there was a backlash of readers. The established, older market was confused by the shift, criticizing the focus on the younger content. Yet, the younger, hip audience of the 24 year old millennials gave positive feedback, receiving the issue with a lot of enthusiasm. That’s when Cheung knew she needed to separate the two contents and market specifically towards the upcoming crowd. The appearance of the younger audience demographic points to an interesting space for the post-nineties generation themselves. As Cheung said in an interview with WWD, “[Post-Nineties consumers] are quite educated and grew up in a wealthy and affluent time of China… They’re confident. That’s why they have opinions and are more
international and sophisticated.” This generation, filled with conviction, independence, and influence is carving out a new space in their current lives, doing so by accepting publications like Vogue Me. In a paradoxical relationship, perhaps because of the stricter digital content restrictions, Vogue Me is that much more successful. The magazine collaborates with Vogue Mini often, the content from the app and the magazine playing off each other. The fascinating interplay between written word and digital content, between the magazine and app mediums, only pushes the technological world further as the Post-Nineties generation exercises its individuality. One recent cover model for two issues of the magazine is Australia-based photographer and creative director Margaret Zhang, who incidentally models for print and digital media publications. Termed “the Renaissance Woman” by Vogue Me, she speaks to the individuality of our generation, saying how “the youth of today don’t need to blindly follow the paths and pressures laid out by generations beforehand.” Since the Post-Nineties is the first generation to grow up with the internet and experience China in solely its economic strength and consumerism, the digital world is the natural place for the expression of this generation. Vogue Me and Vogue Mini are inspired by that and are tying fashion and culture to the identity of this spirited generation. Photos: wwd.com
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the rise of airbnb By kajol char
nitially, an easy way to make monthly rent, Airbnb eventually grew into a completely new style of travel. Travel can mean different things to everyone, but commonly, it holds some significance of self-discovery, experience, and adventure. The root of the desire to travel, the search for a sense of belonging, is symbolized by Airbnb’s logo, the bélo. Bright red and white lines, it is an adaptable logo, shapeshifting into four different figurines: stick figure, location map marker, heart, and A. People, places, love, and Airbnb are united by the bélo, creating a form of travel centered around these four ideas. It has come to stand for a sense of belonging, letting others know that Airbnb is more than a place to say, but a new authentic way to travel. Conventional travel begins with an eight hour flight to Paris and a hotel reservation in the center of a tourist trap. People snap selfies with the Seine and a million other
MODA Summer 2016
tourists peeping in the background. While this experience is still amazing, Airbnb pushes for a new approach to interacting with places. This modern age has imparted a sense of connection and closeness on the world, and Airbnb’s new style of travel strengthens this sense of community. They created the bélo to symbolize this meaningful, sense of belonging which travelers can form with any place, from a neighboring state to a city across the world. Backdoor tourism seems to be growing hand in hand with Airbnb, as travelers can stay in local’s homes, in search of a more authentic experience of a destination. Truly connecting to the place by getting an insider’s peek at local, real life, apart from the tourist show that locals build up as part of ecotourism, is a big factor of Airbnb’s appeal. Travelers search every square foot of the earth, looking to truly understand and experience the unique traditions, cultures, and stories each place has to offer. But this unique experience is often
traded up for a heavily, curated image which conventional tourism distributes, and Airbnb is fueling this authentic, backdoor tourism approach in order to counter the superficial tourist experience. Even beyond authenticity, Airbnb has resonated in the hearts of so many travelers because it makes them feel like they belong, through a more personalized, homey stay. Traveling in new places can be intimidating, with the cold, isolated, business vibes of a hotel. But Airbnb is based on home-style living which provides a security of belonging anywhere to those struck by wanderlust but also those feeling homesick. Another appeal to Airbnbâ€™s unique travel culture is the relationship between the host and traveler. Apart from monetary benefits from renting out unused space, the host has the ability to access culture and experience from travelers. Travelers and hosts can choose to develop a friend-
ship during the stay, one which connects people who would not normally meet. Travelers can share stories about other beautiful sights and home, while hosts can pass down firsthand anecdotes about the place and any travels of their own. Airbnb nurtures human connection and a universal sense of belonging by facilitating an exchange of ideas, culture, and experience. Airbnb has nurtured a tourist culture which surpasses just seeing sights, but extends beyond the five senses to deeply connect with people, places, and ourselves. Branding itself as a business which is centered on a mantra of belonging, Airbnb presents travelers with opportunities for local immersion, comfort, human connection, and a sense of place. Traveling with Airbnb is about feeling at home and welcome in even the most remote places. Airbnb is more than a place to stay. Itâ€™s the path to belonging.
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GIRL POWER Article by Alexia Bacigalupi
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health-consciousness has pervaded the beauty world, all the Nudestix products are paraben, sulfate, and cruelty free and USDA certified organic and housed in eco-friendly reusable packaging. The teens drew inspiration from the effortless beauty looks of celebrities like Emma Watson, and have gathered some fans along the way, as exhibited by their 45+K followers on Instagram, full of photos of the two of them goofing around. “I think doing makeup should be easy, fast and–above all– fun! NUDESTIX is about effortless beauty,” writes older sister Taylor as part of their mission statement. “Each of us is ‘imperfectly perfect’ and we shouldn’t hide behind a mask. When it comes to makeup, a little goes a long way” writes Ally. Wavering about applying for study abroad next year? If the founders of theSkimm are anything to go by, go for it! Co-Founders of the Skimm, a daily email newsletter service, Danielle Weisberg and Carly Zakin met while studying abroad in Rome, before eventually becoming roommates in New York City. TheSkimm delivers a snarky but informative newsletter covering everything from airstrikes in Syria to Blake Lively’s baby. The idea is that their audience, mostly professional millennial women, want to be informed on the latest political and cultural news of the moment, but don’t have the time to plough through three different newspapers or news sites to find out the biggest stories and social media is
hardly a reliable source. TheSkimm presents a neatly packaged, easy to digest package of news to your inbox every morning, to be consumed over your first cup of coffee so readers can stay on top of the latest news stories and pop culture sensations without slowing down their busy lives. The startup has received more than $6 million in financing from investors including comedian Chelsea Handler while Reese Witherspoon and Oprah count themselves among millions of dedicated “Skimm’ers”. The success of theSkimm lies in its conversational and identifiable voice – smart but not stuffy, well informed and well rounded – that starts a conversation with its readers instead of talking down to them. The tone is chatty with a healthy dose of puns and tongue-in-cheek but balanced and well researched. Age is nothing but a number for these women changing their industries. The Frankel sisters are 17 and 19 while the women behind theSkimm are both 28. “It’s still hard to do this for the first time, especially being young.” Zakin told Into the Gloss in an interview. “I think we got a lot of push back when we first started around and the kind of expectations we should have for ourselves, like “Well, you’re only 26 or 27, you’ve got a lot of time ahead of you.” But I think that you are allowed to dream big and if you are working hard to do it, no one should ever put a roadblock in front of you for whatever reason.”
Photos: buro247.sg, offivelovin.com
ccording to Forbes, there are more Fortune 500 CEOs named John than women on the list. Women own only one third of business in the U.S. and female entrepreneurs start companies with 50% less capital than their male peers. Chicago is the world’s top city for female entrepreneurs, ahead of traditional hubs like Silicon Valley. Female entrepreneurs are changing the game of how you do your makeup in the morning to how you consume news everyday. Part of the new wave of body positivity and natural-beauty-enhancing-instead-of-caking-it-on makeup is Nudestix. While the rest of us were taking SATs and struggling through AP classes, teens Ally and Taylor Frankel launched their own line of beauty products. The line, carried by Sephora, Bloomingdales and Urban Outfitters, includes lip and cheek, concealer, and eye shadow chubby pencils all housed in sleek mirror lined tins. The emphasis is on easyto-use and on-the-go makeup for all skin tones. In this case, girls really did get it from their mama. Mother Jenny Frankel was a chemical engineer at MAC and the brains behind their beloved Lipglasses. What began as a niche brand at British beauty boutique Space NK in 2014 has grown to an international business, with Ally and Taylor featured in Teen Vogue among other publications. As the recent drive towards
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fabrics from outer space by angie wan
hen one imagines clothing from science fiction, images of chrome fabrics, geometric shapes, spandex, and bulky helmets appear vividly against the backdrop of a black starry expanse. One idea from science fiction is that space clothes are aesthetically exotic, yet for those of us who are grounded on earth, the real life materials used by NASA are being repurposed for practical use. The conditions of space are harsh. From UV exposure to intense heat or cold, an astronaut needs to be protected against the extreme environment. Even though Earth is far milder, fabrics made for outer space are now coming back down to Earth and making our everyday terrestrial life slightly easier. The Apollo dress shirt, funded by one of the most successful Kickstarter campaigns, uses the same technology NASA uses for space suits. Unlike traditional shirts, the Apollo dress shirt utilizes phase-change materials, or PCMs, to keep a relatively steady temperature on a hot day. PCMs take advantage of the fact that during a phase change, the temperature does not change even while absorbing large amounts of heat. All PCMs use solid-liquid phase changes. When the temperature rises, the solid material absorbs heat until it reaches its melting point, at which time the temperature stays constant but the material is still absorbing heat as it changes to the liquid phase. When the temperature falls again and the material re-solidifies, PCMs can release the heat absorbed. As a result of this process, fabrics with fibers spun with microencapsulated PCMs have the amazing ability to adjust to tem-
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perature. When wearing clothing made from PCM fabric, one can go from outside on a hot Chicago summer day to an over air-conditioned Starbucks and still feel relatively comfortable either way. While keeping cool (or warm) has been one priority for NASA, another major component of the space suit comes from the need to protect astronauts from the sun. Here on Earth though, there are applications for the UV-blocking fabrics NASA developed to help keep astronauts from burning under the sun’s rays. Overexposure to UV-light is linked to skin cancer as well as premature aging, yet in May 2015, in a report published in the Journal of the American Academy of Dermatology, CDC found that only 14.3% of men and 29.9% of women regularly use sunscreen on sun exposed skin. One of the main reasons why people don’t use sunscreen is because often sunscreen can be uncomfortable and inconvenient. Not only that, some people can be sensitive to the ingredients in sunscreen. UV-blocking fabrics could be a solution this on-going problem. Using NASA technology, Solar Protective Factory developed a method that increased fabrics’ reflectivity and UV absorption. Charcoal, coconut, and titanium are used in a special chemical treatment process to help the fabric reflect UV rays or transfer UV light into heat. The final fabric blocks at least 98 percent of ultraviolet rays, comparable to SPF 50. Now this technology is being used in swimwear and other clothing in the Solar Protective Factory’s Aquaweave and Solarknit lines. The clothing of the future will likely appear mundane, far from the whimsical imaginings of science fiction. After all, the Apollo shirt is still a dress shirt, and UV fabrics are being incorporated into bikinis. However, they will be able perform extraordinary functions due to the novel materials used in the construction. NASA won’t be providing the chrome and the helmets (though some of these fabrics do use spandex), but the technology originally used for space exploration can make every day on Earth a little more comfortable as well.
Photos: wamda.com, ministryofsupply.com, randco.com
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BUILDING A BRAND
BY JASON ZHAO
n first inspection, the connection between architecture and fashion may seem tenuous. Yes, there is some conversation between these two forms of design. The trained eye or informed reader may find art deco and cubist cues in designs from Prada and Fendi, or references to Frank Lloyd Wright in Rick Owens. Even though on occasion the artists in these two different media may borrow from each other, there is a more concretely important aspect of the fashion world in which architecture is often central: branding. Fashion houses are concerned with far more than just the design and construction of their garments. It’s not just how a shirt looks; it’s just as much about the cultural cache, the feelings invoked by a logo or a name. To that end, architecture becomes a useful tool. When we see striking architectural designs, they invoke in us immediate rushes of feeling and emotion. Just last year, Calvin Klein gave a talk at Harvard on the influence of architecture in his work. While he gave some insight into the ways that his own living spaces reflected his designs, he also spoke at length about architecture’s importance in his advertising campaigns. Gesturing towards an early men’s underwear print ad, where an expectedly chiseled man in the now-iconic briefs stands before blue sky and a white tower in Santorini (one that Klein described as “phallic” and “absolutely gorgeous”), Klein noted that, “Had we photographed him against no scene, in a studio, it would be nothing. It would be a zero.” When one of the most important aspects of a product is an intangible cultural identity, an effective advertisement ensures that every aspect of the shot reinforces this idea, from typeface to framing to scenery. In that sense, while the importance of the right model may seem obvious, one would be wise not to underestimate the impact of the right architectural backdrop.
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This mindset extends far beyond choices in advertising. Despite the ever-rising popularity of digital commerce, the physical storefront often continues to be a vital part of the industry. This is both true in the sense that a non-insignificant portion of sales occur at brick-and-mortar stores, but also in that these physical locations can be transformed into a physical manifestation of brand identity. This is apparent even in those mundane mallbrands. Every J. Crew has clean cut wooden floors and shelves. Every Abercrombie was that same mix of sickly-sweet smell and subdued lighting. Both cases project, through interior design, a sort of unified brand aesthetic, and by extension, the idea of what kind of personal image one puts on along with their clothing. The use of physical spaces as marketing is much more interesting, though, when venturing away from suburban malls to high fashion flagships. Walk around the retail districts of any major city, and, if you look carefully past the frenetic waves of shoppers and tourists, you will see a sort of architectural arms race. After all, Tokyo’s Omotesando, one of the foremost architectural spectacles in the world, is a shopping district – one whose striking skyline includes buildings ranging from the brutalist hourglass of the Hugo Boss building to the glowing glass strata of Dior Omotesando. In this way, the relationship between fashion and architecture is one that makes intuitive sense. To ingrain a name or logo with a sense of grandeur and luxury, to convince the public of one’s importance, use an architect to do what they do for great leaders or great wars, have them build a monument. If each skyscraper storefront is an opportunity to present a physical manifestation of brand ethos, it is clear that no label wants to come across as less luxurious, less important. Often, building brand image requires more than textiles and a keen eye. It requires glass, steel and concrete.
Photos: irenebrination.com, elenaworkshop.blogspot.com
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C O M M E R C I A
By Shayla Harris
efinery29, Netflix, Travelocity and many other travel companies have offered Instagram users the chance to win free travel for uploading and hashtagging photos of their best vacation chronicles. These competitions are only the tip of iceberg as there are thousands of Instagram accounts dedicated strictly to travel photographs. As the commercialization of travel permeates social media more elements are added to the transaction; capital is bought in the form of likes and followers. Social media posts can function not only as an opportunity for more adventure, but also a way to sell a lifestyle. We all melt at the image of a vibrant sunset reflecting off of turquoise waves, or the picture of three scoops
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of gelato packed high with the streets of Venice in the background. These images not only inspire awe and wanderlust in the viewer, they also preserve the experiences of the traveler. We tend to place more emphasis on the benefits of documenting our travel through social media. However, as I prepare to study abroad next Autumn I am more interested in what I will miss in those moments grabbing for my camera, or crafting a caption. Even when Iâ€™m packed light for a long walk in Parc Floral de Paris, I will make sure my phone is secured in my pocket if a camera is not already in tow. Though my photo of a sun setting over rose garden may hit 100 likes and trigger a beautiful memory later, I miss a moment in the process. Cameras and particularly phone cameras, the home base of photo sharing applications, can weaken the connection between nature and the adventurer could weaken. In-
Photos: fubiz.com, kcci.com, wbaltv.com
A L I Z A T I O N
stead of walking in the park leisurely, I will feel obligated to connect not with the environment around me but my native one, checking my WhatsApp, email and Facebook. These are moments I could spend taking in the grace of a butterflyâ€™s flight or just simply enjoying nature fully. Even if I am just trying to get a perfect shot on camera, which does not automatically distract me, I am forced to mediate my experience of nature through a lens. Photos are great memorabilia but the sun setting over rosebushes would certainly look better through my eye own eyes rather than a lens. As I choose which filter suits my fresh crepe best, I will miss the chance to perfect my accent by conversing with my Francophone waiter. This is a micro example of how streaming your travel experience on social media deflects attention away from the relationships of the people you meet along the way in fa-
vor of old existing connections. Although social media can be used as a pragmatic tool to keep in touch with the people I meet abroad, the emphasis on sharing my experience with those elsewhere devalues the real life connections I could potentially make. Using travel experiences as emblems to display on social media has various repercussions on the actual experience of the voyage. Moreover, photo competitions that grant travel to some based on photo upload are specifically problematic. The nature of a competition suggests that there is a hierarchy of value. The metrics for best adventure donâ€™t and should not exist as each travel experience should be unique and personal. Social media can drain that very uniqueness and sentimentality. Moreover, asking people to share travel photos for the opportunity to travel favors more elite groups rather than granting newcomers the chance to travel.
A V E L
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ur modern, Western world is plagued by an onslaught of beauty ads telling us to look a certain way and buy a certain thing. What might seem like a recent phenomenon, however, is in fact an ancient practice. Beauty standards, or at least how we have come to define conventional beauty today, are actually results of former presentations of ancient practices both presented and encouraged by way of art. Egypt, 1275 BCE, for example. Ramses II rules the Egyptian empire that is currently flourishing after centuries of flux. Art and architecture are rapidly being produced- a perfect way for the Pharaoh to communicate with the general Egyptian public. The vibrant paintings seen throughout the empire could be equivocated to a glossy editorial or cover in Vogue. Why, you might ask? Because the eyes of each figure, whether male or female, are lined with kohl- the eyeliner of the ancients. Constantly seeing this kohl eyeliner on the canonized figures painted on limestone walls, the public knew that they too were inclined to apply this liner to the upper and lower lids in order to stay up to date on the fashions of the time. Kohl eyeliner, gener-
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by ANDIE FIALKOFF
ally made from kohl and oil, was worn universally, by rich and poor. In addition to adding to oneâ€™s physical appearance, kohl eyeliner was thought to have magical and healing powers, as portrayed in various paintings. The contemporary public was thus fully aware of the beauty standard being presented by the Pharaoh, and they knew what was currently in style. Classical Greece, from roughly the 5th century BCE to the fall of Alexander the Great in 323 CE. We once again see art coming into play in order to shape what is considered aesthetically desirable. Most notably are the marble statues, many of which still survive today. At a time in which mathematicians and philosophers were devising proofs for ideas such as the golden ratio, it is no surprise that the statues of the Greeks are perfectly proportioned in order to convey the ideal beauty standard of the time. Displayed in public venues, these statues showed that the perception of beauty was to be slim, muscular, and mathematically proportioned. These images were even placed in gymnasiums in order to give athletes a physical goal to strive towards. If we jump about a thousand years to what is known as the birth of modern era, the Renaissance, we can once
again observe desired beauty trends being impinged on the public via art. What some would arguably call the â€œrebirthâ€? of ancient ideals, the Renaissance, like antiquity, highly valued mathematical proportion and ideal beauty. Across Europe, the art produced between the late 1300s to the 1600s saw the likes of some of the greatest artists ever to walk the earth, many of which were great thinkers and mathematicians themselves. In constructing the ideal human, there was less regard to the quotidienne figure and more to ideal beauty and perfected form. These painters urged the public to strive towards perfected beauty by way of creating it on a canvas. It is nearly impossible to pinpoint one such trend that appeared across the continent during the entire span of the Renaissance, however, it is possible to get a general gist. Across Europe it was en vogue to have pale skin; women wore powder made of mercury, lead, and vermillion to achieve this look. Big foreheads and high hairlines were popular. Women even plucked their hairlines in order to achieve this look. Art was everywhere during the Renaissance, from your local church to statues in Palazzos. The ideals were captured through mediums ranging from bronze and marble, to oil paint and fresco. If you lived in the Renaissance, you would be bombarded with art featuring beautiful, idealized men and women from every corner. Whether these figures were incarnated in a painting or sculpture as a Greek nymph, the Virgin Mary, a noble, or a peasant there was no denying the trends of the time. The period after the Renaissance experienced numerous artistic movements from the baroque to romanticism
Photos: Wikipedia, res.cloudinary.om
leading up to surrealism and abstract expressionism. The world was rapidly changing at a speed like never before. At last in the beginning of the 19th century photography was invented, and the way the public perceived beauty standards was forever changed. No longer was an ideal woman conjured up in the mind of an artist and painted on a canvas, but rather, a real human was captured on screen for all to see. Here lies the birth of how our current society takes in beauty ideals. Instead of a Rococo portrait of a pale woman with rosey cheeks hanging in the foyer of a house, that portrait is rather captured by a selfie camera and posted on Instagram. That is by no means to say that our images are not manipulated such as a painting would be. In fact, they might be altered more so, for the public sees an image which they think is real, however it truly is not. Todayâ€™s magazine ads captured in a photograph serve no different purpose than, for example, the illustrated ads of the 19th century- they are simply of a different medium. It would seem as though our current society besieges us at every turn with someone or something telling us how to look, however if we put this into context, we can truly see that this is not a new phenomenon. MODA Summer 2016 19
of the “It Girl” BY HALEY KOWALSKI
ith a limited set of fashion brands and magazines dominating the fashion industry globally, it seems as if fashion and beauty trends are becoming increasingly standardized. Amidst these growing tides of globalization, do varying cultural beauty ideals continue to persist in mainstream media? Marketing techniques within the fashion industry are derived from the overarching principle of encapsulating an image of perfection and of unattainable beauty. Hence, the image projected by a specific brand or magazine is tailored to the beauty ideals of the target demographic. The presence of the same Western “it girls,” namely Kendall Jenner and Gigi Hadid, on the covers of magazines around the world can be seen as the direct product of globalization, yet their drastically different appearances when used to market to specific cultural demographics reveal the degree to which varying standards of beauty persist around the world. Gigi Hadid and Kendall Jenner are, at the moment, the epitome of the “it girl.” Their lives, unlike the average faceless model, are followed by millions of people on instagram alone. The “it girl,” by definition, has a voice and is a figure in the fashion world as well as a celebrity in mainstream media. Like it or not, these types of models are a go-to staple for fashion marketing, as consumers want to subscribe to and work towards a certain kind of lifestyle in addition to a certain appearance. Their role evolves into that of a spokeswoman for anything from a new workout regime to their favorite beauty product. Through social media, Jenner and Hadid have effectively turned their lives and personas into concrete brands, which fashion companies can easily couple to, resulting in a mutually beneficial marketing relationship. In a globalized entertainment and consumer economy, it is interesting to see that while Western celebrities have a large amount of exposure in Eastern cultures, the converse is not true. The prevalence of a select few Western “it girls” would seem to suggest that, in keeping with the trend of globalization, the international fashion industry is
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moving towards a universal standard of beauty. However, by looking at how the same celebrities, Kendall Jenner and Gigi Hadid, are shown on the covers of American or British Vogue versus how they are shown on the cover of Vogue China, it is clear that this is not the case. On the covers of American and British Vogue, Jenner and Hadid both sport a tanned glow with minimal, natural-looking makeup. On the cover of Vogue China however, both girls are wearing heavier, more dramatic makeup with lighter, porcelain skin. Hadidâ€™s blonde hair appears darker and her freckles are completely masked. These two magazines, one marketing to a Western audience and the other to an Eastern audience, present two contrasting standards of beauty. The Western standard presented here is more youthful and natural, whereas the Eastern image seems to suggest
that ideal beauty is refined and dramatic in terms of contrast between dark and light. The fact that the same celebrities are used on the covers of both magazines, in fact, highlights the striking differences between the beauty standards of two different global regions. As fashion brands and magazines tailor their marketing techniques to the specific beauty standards of their target demographic, the evolution of marketing trends can serve as an indicator of the evolution of cultural conceptions of beauty. Although the appearance of the same few â€œit girlsâ€? on the covers of magazines across the world suggests a standardized universal conception of ideal beauty, the striking differences in how these girls appear in different cultural contexts reveals, instead, that beauty standards remain largely unique and diverse.
Photos: gotceleb.com, condenast.com, fashiongonerogue.com
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Pop Culture Boundaries of Artistry
By Ada Alozie
n 2011, Adam Levine tweeted that there should be an “official ban on celebrity fragrances” going so far as to say that it should be punishable by death. In 2013, he released a celebrity fragrance. Levine’s disdain with celebrity fragrances came during the year when Reese Witherspoon, Sarah Jessica Parker, Halle Berry, and many others announced collaborations with noted fashion brands to release a perfume under their brand. Though it may seem as though celebrities collaborating with fashion or cosmetic brands has hit a unique high with the release of Beyonce’s Ivy Park with Nordstrom and Rihanna’s Creepers with Puma, those in the public eye have always had the platform to release a special collection with a fashion or cosmetic industry with whom they want to work. The crux of Levine’s tweet was that celebrities should stop releasing fragrances - and to go even further - stop releasing products that don’t pertain to their talent. Why should a singer have any input on a clothing line or an actor help to create a fragrance? Why can’t singers just sing? While Levine might have changed his tune regarding celebrity collections, there are many who roll their eyes at the mere mention of celebrity collections. Stepping into any department store, clothes by Jennifer Lopez, Lauren Conrad, and Jessica Simpson, furniture by Cindy Crawford and Kathy Ireland, and many other celebrity contributions fill the entire the store. It’s impossible not to feel that they didn’t earn their col-
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lections. While designers spend many years interning and doing entry-level work and being assistants trying to break their way into the fashion industry, celebrities simply have to have the name. It’s difficult to know how much input and control each celebrity had over their collection because there is always a primary designer with whom they work. Some may see how celebrity collections take up the space for designers and creators who are experts in that specific field of design. It’s difficult to know how many designers’ works are being erased by the existence of these collaborations. The problem with celebrity collections stems from whether they should even be given the opportunity to collaborate with fashion houses and companies without the expertise that many spend years trying to cultivate. While most celebrities reach celebrity status because of their careers as singers, actors, or anything in the entertainment industry, it doesn’t mean that they can’t venture out and explore more opportunities for themselves. Singing and acting both qualify as arts and stimulate the creative side of all those who participate in it. Most are artists and to venture into the fashion world is an extension of their creativity and capacity to use various means as a testament for their artistic endeavors. Celebrity collaborations with fashion brands allows for the artist-celebrity to refine their artistry and package their persona and beliefs into a different medium of expression. Who Adam Levine is as the lead singer and songwriter of Maroon 5 compared to who he is as a perfume designer shows the audience the various facets of
Photos: celebgossip.com, clutchmagonline.com, cloudfront.net MODAfeatures
his personality and talents. The different mediums of music and fashion allow the artist to become more of a three-dimensional person in the eyes of the public rather than just their occupation. To expect singers and actors just to sing and act is to stifle their creativity and hamper their artistic growth. By expanding their efforts into fashion, celebrities are able to grow as artists while simultaneously rounding out their public personas to allow the audience to know and understand who they are more. Levineâ€™s foray into perfume marked his entrance into the celebrity apparel line where he currently has a clothing line at KMart. Now a designer and singer-songwriter, Levine has been able to explore beyond his boundaries as an artist and the public has been able to understand who he is in a more in-depth way. Celebrities crossing industry lines into fashion allow room for greater personal growth and give the public a chance to know them in a more intimate light.
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BREAKING SARTORIAL CEILINGS:
By Sana Sohail
nown as the “golden mile of tailoring”, Savile Row in London is synonymous with quintessential British style, craftsmanship, and a sartorial history that stretches over three centuries. Traditions that have defined this street have changed little: an old apprenticeship system remains, standards that all clothes are made within a 100-yard radius of the street are upheld (Foulkes 2015), and a male-dominated industry has stood the test of time. However, the history (and future) of Savile Row was changed forever this past month through the efforts of Kathryn Sargent, the street’s first female tailor. As a recognized craft, tailoring has its roots in the Middle Ages with tailor’s guilds fitting the padding
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worn under armour (David). Boys would join these guilds at a young age as apprentices, a system still in use. When women attempted to join in the 19th century, they were rebuffed by concerns that involving women would “undercut the great skill and dedication necessary to become a tailor.” In describing her own experience entering the industry only twenty years ago, Sargent found women still relegated to “backroom roles, finishing off buttonholes and sewing the lining” (Freeman 2015). Despite this barrier, Sargent still found herself gravitating towards the meticulousness and perseverance a tailor’s work demands (Freeman 2015). Taking a position at Gieves & Hawkes, she worked her way up from the trimming room to become Savile
Row’s first female Head Cutter in 2009 (Freeman 2015). There are no salesmen working on the floors of these businesses, as the tailors and cutters personally meet with their clients for consultations and fittings (Foulkes 2015). Long-term relationships develop between tailors and their clients, and Sargent has had several clients follow her from her time at Gieves & Hawkes. The process behind bespoke garments is no joke: the first consultation, where about 25 different measurements are taken, can take up to three hours (Freeman 2015). Fine points about a client’s posture, such as a forward-tilting right shoulder, are taken into account and provide a level of detail not found in ready-to-wear or made-to-measure clothing (Crompton 2016). Sargent takes this a step further—the first conversation she has with her clients is about their lifestyle (Freeman 2015). Their career and occasion for the suit are carefully considered when deciding which materials to use. The execution of the suit itself takes around 50 hours and passes through the hands of eight different tailors and cutters before completion. A quick skim through Savile Row’s Bespoke Association’s glossary of tailoring terms reveals exactly how much is done by hand: everything from shaping shoulder pads to cutting but-
tonholes to detailing lapels is hand made. Such a heavy time and labour investment into the production of each and every garment means that Sargent produces around two or three suits a week, with similarly small firms on Savile Row averaging around a few hundred in a year (Foulkes 2015). The consequence of this dedication to craftsmanship and luxury materials? High costs. Sargent’s prices run easily into the thousands, but she believes the clothes stand up against today’s culture of fleeting trends and disposability (Freeman 2015). They are an investment, where you are promised (and pay for) a timeless design that can be appreciated not only in the present, but decades into the future. Commenting on her achievements to The Guardian, Sargent remarked, “I am thrilled to be making history, although for me being a woman is incidental—I am a tailor first and foremost.” Her new-found space on Savile Row was no easy revolution: Sargent put in decades of hard work in an industry that used to believe any highly qualified tailor must be a man, leaving less technical work for women. Sargent will hopefully be a catalyst that the tailoring and fashion industry needs to bring more creative, talented women out from the backrooms and to the forefront. Photos: fashionmag.com, brandthinking.com
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Universalizing Fashion How brands are designing for a new space and a more informed customer
By Andrew NICOTRA Reilly
ashion occupies an indefinite amount of space within our daily lives. The ways in which we interact with fashion and design may vary from person to person, but there is no doubt that we all interact substantially with the aesthetics and designs of the high and low fashion worlds. It seems, therefore, to be antithetical to common sense to display fashion only in the context of a runway show. Fashion is meant to be seen, lived in, and observed. Designers and tastemakers, therefore, should not shy away from more alternative models of displaying their clothing and designs. There has been a marked shift towards the display of fashion outside of the traditional runway show – and this is a marked improvement in our cultural understanding of what it means to be a part of the fashion community. The most moderate version of this shift has been in the types of fashion displays that involve models within a storefront or other venue being essentially left on display. Patrons are able to look at the models from all angles, to really get a sense of the clothing and fit that the pieces have. This brings the viewer, the model and pieces closer together, and improves the interaction people have with fashion. This however, merely touches the surface of the shift towards a more easily consumed fashion. Perhaps one of the most influential shifts has been toward the display of fashion in non-dedicated spaces. There have been a slew of designers and magazines that are putting models at parties and other events to show the ways in which clothing can be worn in the world. In this way, designers are showing a truer essence of how clothing should look. The clothing will crease, possibly get spilled on, and be danced in; the space of the
party, therefore, is shaping the way the clothing is. This approach to fashion provides a truer and less polished style than the traditional runway show. A more extreme example could be the approach taken on by Alexander Wang. Wang, along with his socialite friends, throws a party every year in which models and many of the guests wear his new line. By allowing non-models to wear the clothing, as well as allowing for autonomous guests to wear the clothing, Wang creates an environment that exudes his grungy yet restrained style. The party, however, exists even beyond the confines of the walls of the venue, since the guests and the outfits are shared with the world via social media and the Internet. Here, we can see an excellent understanding of what it means to exist in fashion. The space of fashion is ever expanding – and designers need to be conscious of this when designing their clothing as well as the way their clothing is displayed. What connects all these different methodologies is the new and inventive uses of space to bring the consumer closer to the actual pieces, and therefore providing a better understanding of fashion itself. The result of all of this exposure and changes is that fashion no longer exists in a space to only be consumed by those with connections or money. The expansion of the realms of fashion signify to the public that fashion is not something that must be experienced through ritzy shows and in back rooms, but rather that it is somebody’s conscious choice to consume fashion. By allowing people to see the ways in which clothing and style can be seen in a more approachable and relatable atmosphere, the fashion world is stepping closer and closer to a broad, perhaps universal, understanding of the trends and styles that define today and tomorrow. Photos: Vogue.
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The Spatiality of Feminine Fashion By Kathryn Hicks
rom the early renaissance to the modern era, lines and shapes have always served as the backbone of fashion, from country to couture. The space that a garment takes up, accentuating or hiding parts of the body, often correlates with the prevailing mindsets of the period. In the case of tracing women’s fashion over the decades, the extension of fabric forms is often interestingly correlated with the amount of freedom or lack there of the female gender. Notably in the Tudor era, bombasting, crinoline, and corsets dominated the fashion among the wealthy, using fabric-contracted shapes to accentuate the differences between man and woman. The time period’s fashion enhanced pride in the men through silk shirts, frilled at the wrists and neck, paired with doublets to create an empowering square shape, mimicking the stature of a proudly puffed out chest. The era’s women were
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marked as weaker and more-restrictive through the clothing they wore, with the feminine triangular form being restrictively highlighted with tight-fitting clothes, wooden corsets, and padded skirts held up with crinoline hoops. This trend of restrictive clothing pursued for the following centuries, popularly evident through Keira Knightly’s Elizabeth Swann (Pirates of the Caribbean) declaration that “women in London must have learned not to breath” in opposition to the corset. The corset’s spatial restriction of the womanly form parallels the early eras’ restriction of women’s rights. Similarly, the trend of crinoline linings of skirts expanded the space occupied by a woman’s bottom half, further restricting women’s ability to move and accentuating the tiny waist achieved through the suffocating corsets. Likewise, this era’s fashioned further divided men and women through the excessive padding or softening of the shoulder line. Women were made to appear more delicate with sloping shoulders and a narrower waist with the leg-of-mutton or gigot sleeves of popular women’s dresses puffed the sleeves beginning at the top of the arm. This trend specially extends the shoulder lines in a gentle downward diagonal and continues to paint the romanticized portrait of the Victorian lady, always pining away for a lover and needing a husband by her side. These restrictive space-altering fashion trends continued up until the end of the Victorian era in the start of the twentieth century and epitomize the archetypal image of this time period’s meek and servile woman. With the twentieth century’s dawning feminist movements and general empowerment of women, hems and hairlines shortened and crinolines and corsets became a thing of the past. Notorious for dramatic social and political change, the roaring twenties were home to the quintessential short flapper dresses and bobbed hair, revealing the skin and confidence of the gutsy Gatsby era woman. As free from the fashion restrictions of
the past as her dress’ tassels were free to swing about her, the women of the early twentieth century gained momentum and inspiration with the beginning of many of the century’s feminist movements. Furthermore, the eighties popularized shoulder pads greatly expanded the space occupied by the feminine shoulder line. No longer delicately sloping and softened to romantically pine for a lover, the eighties padded shoulders mimicked the broad shoulders of the men who traditionally dominated society, bringing masculinity to the feminine figure and strengthened confidence to the women who wore them. Partnered with the two piece power suit, this early modern era’s broadened-shouldered women were powerfully dressing for success and destined for empowerment and social change. In contrast to the classical eras, the twentieth century’s spacial fashion trends ameliorated the restrictions placed on women, both through fashion and society. The modern woman gained freedom and power through the forms of her clothes and was empowered to fight for equality between the genders. Although there is still obvious room for improvement in the equality between men and women as evidenced by the feminist movements of today, the exploration of the spatial occupancy of the past’s fashion illustrates a progressive trend towards women’s rights, with emphasis on less restrictions and more empowering freedom. Photos: Tumblr, fanpop.com
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Karlie in space By Olivia Jia
upermodel, philanthropist, spokeswoman, NYU undergraduate, entrepreneur and cookie aficionado are just a handful of the many hats twenty-three-year-old Karlie Kloss dons on a regular basis. One of the most recent and more notable additions to Kloss’ ever expanding resume, however, is her advocacy for getting more young women and girls involved in STEM (science, technology, engineering and math) fields. On her more recent venture into the technology industry, Kloss reflects “I want to be doing my day job for a very long time, but I also want to grow businesses and make a meaningful impact” (WSJ). Since enrolling in a coding class at New York’s Flatiron School in 2014, Kloss’ fascination with computer programming has inspired her to partner with the Flatiron School to sponsor a Kode with Karlie scholarship for high school girls. The program provides twenty girls free tuition to enroll in the Flatiron School’s Introduction to Software Engineering course. The scholarship’s mission statement states “by the end of the program, students will have built and deployed their own applications to the web, and gained a fundamental appreciation for the world of technology and how it impacts our daily lives” (Flatiron School). Since making her runway debut as an exclusive for Calvin Klein her freshmen year of high school, Kloss has been a fixture of the fashion community, gracing countless magazine covers, taking her turn down the runway for all the most sought after brands and more recently, acting as muse for the likes of Diane von Furstenberg, Kate Spade NY and Joe Fresh. Kloss is also known for the successes of her various business ventures. Karlie’s Kookies, in collaboration with Momofuku Milk Bar, benefits the
FEED organization and the Council of Fashion Designers of America (CFDA). On her Klossy YouTube channel, Kloss frequently posts behind-the-scenes vlogs from magazine photoshoots, personal projects involving the Make-a-Wish foundation and LVMH, baking tutorials and interviews with people who inspire her. In addition to her strong presence on YouTube, Kloss boasts several million followers across her Instagram, Twitter and other social media accounts. Her extensive influence on social media and undeniable appeal with younger audiences is only one of the many reasons clients seek out Kloss as their campaign girl, spokeswomen or business partner. Kloss’ social media presence has been integral to the success of her Kode with Karlie scholarship as well getting more young women and girls involved in coding and computer technology. Simply scroll down the model’s Instagram feed to see videos of drones she’s programmed to fly in coding class alongside photos from Coachella, the gym or Vogue photoshoots. Regarding the model’s recent shoot and interview for the Wall Street Journal Magazine at the SpaceX Factory, the online news source Inverse underscores the importance of Kloss’ various initiatives in the world of computer science: “Kloss’ visibility in tech shouldn’t be under-appreciated— the U.S. Department of Commerce credits a lack of female role models as a major factor that contributes to the discrepancy of women and men in STEM jobs” (Inverse). At a time when the intersections between social media, the tech world and women’s leadership are integral to any discussion regarding the future of science, the arts and society, Kloss’ role at the forefront of these dialogues—not only as a spokeswoman, but as a role model—is made all the more significant. Photos: Wall Street Journal.
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Transcendental From Marc Jacobâ€™s #malepolish to Sonia Rykielâ€™s makeup-free ad campaign, the fashion industry has flirted with the rejection of traditionally prescribed behaviors and aesthetics, encouraging all to experiment with new and unique aspects of beauty. Photography: Daniel Chae Hair & Makeup: Michelle DePorto, Meredith Esquivel, Andie Fialkoff, & Saylor Soinski Models: Ilve Bayturk, Vanessa Farrante, Tim Juang, & Teddy Watler
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MODA Magazine takes to the streets of Hyde Park to show there is more than meets the eye. Photographed by David Farr Styled by Frances Chen & Ogonna Obiajunwa Modeled by Anya Marchenko, Temisan Osowa, Kriti Ramakrishnan & Liam Zhao Menswear courtesy of models and Mankind (1410 N. Milwaukee Ave.) Womenswear courtesy of models
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Photographer: Albert Nam Stylists: Liya Khan, Alexis Matthews, Igolo Obi, Kenneth Zheng Models: Nina Gerdes, Sabine Nau, Julie Xu Clothing courtesy of Una Maeâ€™s 1521 N. Milwaukee Ave.
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