UCL MODO Magazine February 2023

EDITOR/ PRESIDENT’S NOTE

It was the beginning of the year when we first realised that this edition — February 2023 — would be the first iteration of the Magazine to launch during MODO’s 20th anniversary. Immediately, the themes of growth, development and evolution came to mind; what better way to celebrate two decades of the society if not by commemorating fashion’s history while eagerly looking forward to its future? In other words, what better way than titling this edition ‘Retrospect and Innovation’?

Working on the Magazine was as inspiring as always, but with an added charm: the collaboration with the Production team as we decided to host the launch alongside our 2023 Fashion Show, with the same theme, at Steelyard London Nightclub. This edition was particularly special to me as it is my first edition as Editor and I was so grateful to bring a new editing team into this year at MODO Magazine. This issue is not only dedicated to the amazing artists who have worked tirelessly to contribute to the Magazine (many of whom we were so happy to see returning after last year!), but also to what this society has done for UCL’s fashion community over the past twenty years.

Thank you for reading this edition: we hope you will enjoy it as much as we have enjoyed creating it.

We are thrilled to have supported the incredible work of our editing team, writers, models, photographers, stylists, graphic designers and editors who poured their hearts, words and art into this February 2023 edition of MODO Magazine! Throughout the past three years, this publication has tripled from thirty collaborators to over ninety. This year it is an honour to launch the Mag alongside the Fashion Show February second with thirteen London-based designers and brands. We are so grateful to our sponsors and our guest speaker Idalia Salsamendi for their invaluable contribution!

We are so proud of our MODO Team and what we have accomplished together!

Rachael Hawthorne & The editing executives: Athanasia, Giacomo, Sarina, Victoria

Sabrina Ciauri & Maria Valentina Bezzi

THE MODO TEAM

SABRINA CIAURI President MARIA VALENTINA BEZZI Vice-President

RACHAEL HAWTHORNE Editor-In-Chief GIACOMO TANNER Editing and Graphic Executive

SARINA SETH Editing Executive

VICTORIA KRUEGER Editing Executive

ATHANASIA ATHANASOPOLOU Editing Executive

LIST OF CONTRIBUTORS

Writers & Concept Authors

Aadithya Shankar

Amber Bennett

Amina Abdiaziz Anouk Richards Carmen Chang Emily Pometkov Françoise Hélène Gaspard Grindel Imani Stone Jade Ygouf Jai D Mohan

Maahika Singh Maria Valentina Bezzi Scarlett Walker Songju Kang Victoria Andrews Victoria Subev

Stylists & Designers

Amina Abdiaziz

Andrea Lim

Angelica Ngai Ghalia Alsayed Imani Stone Lia Jorge Sophie Habkirk Tamara Zahid Zoe Dupe

PR & Marketing

Eugenie Sere

Ibukun Osi Jaime Ha Rebecca Cornthwaite

Photographers

Aadithya Shankar

Amber Bennett

Andrej Husàr Chenlu Yu Claire Yubin Oh Daniel Musherure Deniz Pasli India Daniel Julia Barrell Safiyah Moloobhoy Sam Prescott Songju Kang Tamudaishe Ngwaru Winnie Sae-Seung

Makeup

Alix le Hello Anna Ionescu Ghalia Alsayed Tamara Zahid Brands

Idalia Inc. Piqi VIOU Yiume Zuncho

Trinity Rungasamy

Vassiliki Maalouf

Victoria Andrews

Victoria Krüger Victoria Subev Yangzhi Yue Yeabi Zhou

Models

Aadya Bhagat Alexa Wong Alice Lilley Aliya Freberg Aneeta Lei Anouk Richards Bianca Antonucci Camilla Mina Camryn Pedersen Carmen Chang Charlotte Bailey Charlotte Jin Daniel Musherure Demi Nwadike Divine Afilumo Elsa Lamptey Emily Pometkov Essey Goitom Francoise Helene Giacomo Tanner Ghalia Alsayed Hannah Kaur Deol Hodan Salat Ibukun Osibona Imani Stone Jihaan Raghe Karina Bleeker Katie Mitocariu Koshtub Vohra Lakkaya Palmer Lea Schwartz

Maahika Singh Madeleine Lee Marc Bélorgey Mauricio Toache Mihika Kumar Natalia Zubrzycka Nina Kapalková Olusola Awosika Sam Santos Sara Etukudo Sarah Yang Qu Szymon P Kogut

I asked Victoria, Maahika, Sam and Sola: “Right now, if you were to take a snapshot into your true self (the version of you that you see), what would that look like?”. These photos encapsulate each of their very different answers to this question, as well as the importance of introspection when answering the question of: WHAT IS NEXT?

Maahika is already very grounded in her incredibly colourful and confident self. She visualises her soul as an amalgamation of colours due to her love and appreciation for art, travelling, cultures and books, as well as her background and upbringing. Maahika values knowledge and strives to understand more about the people and wider world around her.

THIS IS ME NOW

Photographer (and concept by): Songju Kang

Models: Victoria Andrews, Maahika Singh, Sam Santos, Olusola Awosika

Victoria described herself as currently feeling like a blank page, with so many possibilities and aspirations academically and career-wise, as well as creatively through fashion, design and music. Though she also feels as though her confidence sometimes prevents her from achieving her full potential, she is continuously experimenting and embracing new challenges to become a more self-assured version of herself.

Sam’s life revolves around academics, friends, cooking and health. He values both his relationship with his friends and his relationship with himself, utilising his alone time as a way to be in his most creative state of mind. Looking forward, Sam is excited to feel more comfortable in his own skin and hopes to be able to show different sides of himself.

Sola’s “self” can be broadly categorised into two. The first is Sola when she is alone and at home, and her peaceful, almost child-like, nostalgic self is deeply influenced by music, faith and her family. The second is her more driven, creative, innovative side which she loves to express physically through her style, which is just one of her many creative outlets.

Director- Jai D Mohan

Photographer- Andrej Husàr

Models- Karina Bleeker Mauricio Toache

an odyssey into urban dystopia, inspired by elements of techwear.

If we use rose-tinted glasses to romanticize the past, then we don chrome-plated aviators to imagine our future. We often use the future as a canvas onto which we can project anxieties about the current day and wistful yearning for an idealized past. However, in the midst of our hope and fear, I think we forget that history is a cycle of patterns that appear new to us in the present, but oftentimes are reconstructions of a past lived by generations prior, albeit usually featuring more advanced technology. With each new generation, we grapple with similar issues, but in a new way and with knowledge from the past upon which we can build. And from this arises retrofuturism as a concept. Retrofuturism as an art style is defined as envisioning the future from the perspective of the past. We see this often represented in fiction in the stories of authors like HG Wells. Even though these works are imagining the future, they capture the zeitgeist in which they were written, and from consuming these works we can glimpse whatever may have been the prevailing hope or fear of the time. We see this too in fashion. One of the most recognizable examples of retrofuturism is the space-age fashion of the 1960s. In a decade when space travel was accelerating, designers in the fashion world took note and incorporated the idea of this new technology in their designs. French designer Pierre Cardin utilized bold colors and angular, aerospace-inspired silhouettes to capture both the scientific advances and public fascination with space travel. Fellow French

designer André Courregès utilized unconventional materials such as vinyl and PVC to create unique and alien silhouettes. These styles are what came to be known as “space age” fashion and have influenced both high fashion and pop culture representations of futuristic looks. Here is where our past, present, and future collide. In our present day, we see a resurgence in aerospace interest. Supplanting the moon, Mars is now the planetary destination du jour. New aerospace technologies, climate anxiety about the habitability of planet earth, and billionaire fascination with space travel for leisure have led to a soft resurgence of a new space age. Space exploration as a concept is ever popular, however, the ethos around which we view it may differ. Perhaps the space exploration of the 1960s felt more optimistic as opposed to a second plan for survival. Then just as now, the 1960s was a time of great social change and economic upheaval. Maybe, the vision of uncertainty prompted pop culture to look elsewhere for an escape into the unknown where society could start again, but better with a clean slate. Moreover, maybe these fantasy ideals could turn into realities. Perhaps this is the same ethos as today, or perhaps things feel direr because of the climate crises or continued inequality. Or perhaps the urgency we feel is due to the fact that we are alive here and now and only know this present, or perhaps both. Whatever the reason, one thing is sure: our thoughts of the future are full of hope, wonder, fear, determination, nostalgia, and excitement.

B Y V I C T O R I A S U B E V

“ R o a r i n g Y 2 K f a s h i o n , B a c k i n V o g u e ”

" Y 2 K F a s h i o n i s M a k i n g a S h a r p C o m e b a c k ” “ B a g g y i s B a c k " .

T h e s e h e a d l i n e s h a v e b e e n s u r g i n g i n f a s h i o n m a g a z i n e s a n d r e a d i n g t h e m c a m e a s n o s u r p r i s e t o m a n y o f u s . J u s t b y o b s e r v i n g o u r s u r r o u n d i n g s , t h e p o p u l a r a e s t h e t i c i s o b v i o u s . Q u e s t i o n s a r i s e .

W H Y I S T H I S H A P P E N I N G ?

I n p r o v i d i n g a n a n s w e r t o t h e f i r s t q u e s t i o n , I w i l l g o b e y o n d t h e o b v i o u s , n o s t a l g i cd r i v e n e x p l a n a t i o n F r o m a n e a r l y a g e , s i g h t i s o u r m o s t t r u s t e d s e n s e . I n c a p a b l e o f d e v e l o p i n g m u c h u n d e r s t a n d i n g f r o m o u r s u r r o u n d i n g s , w e o b s e r v e W e a r e a t t r a c t e d b y o u t s t a n d i n g f e a t u r e s : V i v i d c o l o u r s , b u t a l s o p a t t e r n s a n d v a r i o u s t e x t u r e s . S i n c e k i d s f r o m t h e p a s t n o w e n j o y t h e f i n a n c i a l f r e e d o m t o f u l f i l t h e i r d e e p l y r o o t e d d e s i r e s , t h e i r o b s e r v a t i o n s f r o m c h i l d h o o d r e a p p e a r : f a s h i o n i s n o w b r i n g i n g b a c k e l e m e n t s f r o m a b o u t t w e n t y y e a r s a g o .

T h i s m a y b e a s s o c i a t e d w i t h p s y c h o l o g i c a l e c o n o m i s t D a n i e l K a h n e m a n ’ s “ w h a t y o u s e e i s a l l t h e r e i s ” ( W Y S I A T I ) e x p l a n a t i o n i n T h i n k i n g , F a s t a n d S l o w . T h e r e a r e t w o m o d e s o f t h i n k i n g i n o u r m i n d : S y s t e m 1 f i r s t f i l t e r s a l l i n f o r m a t i o n w i t h o u t e n g a g i n g S ys t e m 2 , t h e r a t i o n a l p a r t . W Y S I A T I r e f e r s t o t h e f a c t t h a t w e n o r m a l l y m a k e o u r j u d g e m e n t s a n d i m p r e s s i o n s b a s e d o n t h e i n f o r m a t i o n a v a i l a b l e t o u s ( S y s t e m 1 ) .

I n m a k i n g d e c i s i o n s , a b o u t o u r w a r d r o b e i n t h i s c a s e , o u r m i n d t a k e s i n t o a c c o u n t t h e t h i n g s w e k n o w . Y e t w e d o n ' t s i m p l y c o p y o l d s t y l e s . R a t h e r , w e a r e s e e i n g t h e a d o p t i o n o f Y 2 K w i t h a m o d e r n z e a l . H o w h a s t h i s t r e n d d e v e l o p e d s i n c e t h e n ?

H O W H A S T H

S T R E N D D E V E L O P E D S I N C E T H E N ?

T a k e t h e l o w - r i s e j e a n s a s a n e x a m p l e . I n c o m p a r i s o n t o t h e e a r l y 2 0 0 0 s , w h e r e t h e r i s e s a t b e l o w t h e h i p b o n e s , t h e 2 0 2 2 l o o k s e e s a h i g h e r f i t . I t i s l e s s a b o u t t h e ‘ g r u n g e ’ a e s t h e t i c o f t h e e a r l y 2 0 0 0 s , a n d m o r e a b o u t a l o o s e - f i t a t t i r e w h i c h e n g e n d e r s b o d y - i n c l u s i v i t y . I n 2 0 2 2 , b o d y p o s i t i v i t y i s o f g r e a t s i g n i f i c a n c e i n t h e f a s h i o n w o r l d . T h e l o w - r i s e j e a n s r e f l e c t t h i s c h a n g i n g m i n d s e t a n d n o l o n g e r f o r c e s t h e d e c i s i o n b e t w e e n d r e s s i n g f o r s t y l e v e r s u s d r e s s i n g f o r c o m f o r t T h e b a g g y a e s t h e t i c h a s c r o s s e d t h i s d i v i d e w i t h w h i c h m a n y o f u s s t r u g g l e d .

I

T h e l o o k e n c a p s u l a t e s g r e a t e r f r e e d o m – a f r e e d o m w e n e e d a s w e g r o w u p a n d d e v e l o p o u r o w n f a s h i o n i d e n t i t y . M o r e o v e r , w h a t d i s t i n g u i s h e s t h i s p e r i o d ’ s i n s p i r a t i o n f r o m t h a t o f t h e 1 9 9 0 s , i s a c c e s s i b i l i t y W e l ld e v e l o p e d m e d i a p l a t f o r m s g r a n t u s a c c e s s t o p o p c u l t u r e a n d w e c a n e f f o r t l e s s l y d r a w i n s p i r a t i o n f r o m p r e v i o u s d e c a d e s T h i s i s i n f a v o u r t o f u r t h e r t o d a y ’ s e x p e r i m e n t a t i o n - w e c a n j a z z u p t h e Y 2 K - i n s p i r e d p i e c e s .

W e m i g h t n o t b e a c t i v e l y a w a r e o f t h e e x p r e s s i o n o f i n d i v i d u a l i t y , b u t i t s u r e l y p l a y s a r o l e i n t h e i n n o v a t i o n o f Y 2 K f a s h i o n . T h e m i n i m a l i s t i c s t y l e s , f o r e x a m p l e a n o v e r s i z e d w h i t e s h i r t t h r o w n o v e r a p a i r o f w i d e - l e g d e n i m j e a n s , a r e e x p l i c i t l y m o r e e v o c a t i v e w i t h t h e a d d i t i o n o f f u t u r i s t i c t o u c h e s - c h u n k y t r a i n e r s . M u c h o f t h i s r e v o l v e s a r o u n d b u y i n g i t e m s t h a t c a n b e u t i l i s e d w i t h s m a l l t w e a k s f o r m o r e t h a n j u s t o n e o c c a s i o n

F a s h i o n s t a n d s f o r i n d i v i d u a l i s m , l i b e r a l i s m , a n d s e l f - e x p r e s s i o n . I n 2 0 2 3 , w e w i l l c o n t i n u e t o f i n d Y 2 K - i n s p i r e d t r e n d s a d o p t e d w i t h d i s t i n c t t o u c h e s b y e a c h c r e a t o r . U n i q u e n e s s i s w h a t w e l i k e t o s e e w h i l e l e a r n i n g t o a p p r e c i a t e i t a l i t t l e m o r e t o d a y t h a n w e d i d y e s t e r d a y .

T h e m o d e r n - d a y t r e n d i s a l s o n o t j u s t a b o u t t h e w h a t i e w h a t i s w o r n A n e x p l a n a ti o n o f t h e t r e n d s h o u l d a l s o f o c u s o n t h e w h e r e , i . e . w h e r e d o w e g e t t h e w h a t f r o m . I n t h e l a s t c o u p l e o f y e a r s , t h e r e h a s b e e n a s u r g e i n p o p u l a r i t y o f h u n t i n g d o w n i t e m s f r o m t h r i f t s t o r e s . T h e r i s i n g i m p o r t a n c e o f l i v i n g s u s t a i n a b l y h a s s l a p p e d f a s t - f a s h i o n i n t h e f a c e I n c o m p a r i s o n t o p r e v i o u s g e n e r a t i o n s , G e n Z - e r s c a r e s u b s t a n t i a l l y m o r e a b o u t e a c h d e c i s i o n ’ s i m p a c t t h e e n v i r o n m e n t . I n d e e d , a c c o r d i n g t o a N a s d a q p u b l i c a t i o n i n S e p t e m b e r 2 0 2 2 , 7 5 % o f G e n Z c o n s u m e r s h a v e s t a t e d t h a t s u s t a i n a b i l i t y i s m o r e i m p o r t a n t t o t h e m t h a n b r a n d n a m e s . M o r e o v e r , t h e c o n s t a n t l y c h a n g i n g s e l e c t i o n o f c h o i c e i n v i n t a g e s h o p s o f f e r s a n i n d i v i d u a l l y c r a f t e d p a l l e t f o r v a r i o u s c o m b i n a t i o n s .

By Carmen Chang

Jeans have been an essential fashion piece since the 1800s. Our pitch portrays a fusion of fantasy, which is reflected by the graphic makeup, and innovation. The outfit was designed and sewed using donated jeans and the jewellery was handmade from unwanted tiny bearings. In this ever-evolving world of technology, the fairy lights demonstrate how fashion trends would look like in the future.

Carmen Chang - Model Andrea lim - Designer Ghalia Alsayed - Makeup Artist Tamudaishe Ngwaru- Photographer

C O N N E C T I N G T H E

VIOU is the UK’s leading social platform to connect fashion enthusiasts, influencers, models, and designers. The goal is to create an immersive, engaging, and entertaining customer journey for Millennials and Gen Z. VIOU wants to enable community-building and direct interaction between brands, creators, and consumers, resulting in the ultimate virtual shopping experience.

VIOU was founded by Victoria and Manos, two exMorgan Stanley employees, who are obsessed with fashion and building a community. The co-founders are bringing in a combined 8+ years of luxury sales experience, and would love to welcome you on VIOU!

W E L C O M E T O V I O U !

Scan the QR code and download the app now! Make sure you follow VIOU to gain exclusive access, watch incredible BTS content, and of course, buy what you see

By Scarlett Walker

Photographer: Aadithya Shankar

Fashion and feminism have long been linked to one another, both affecting and influencing the other throughout history. The 20th century bore witness to the most significant transformation of women’s fashion with the onset of the suffragette movement and post-war women’s liberation. The late 1960s to 1980s was a period of significant political and social change for women, characterised by its revolutionary liberating style.

Reacting against the postwar domesticity enforced on women, the second-wave feminist movement of the 1960s and 70s envisaged an end to traditional gender roles, stereotypes, and discrimination. A sense of momentum was achieved with major Supreme Court cases such as Roe vs Wade and the Equal Pay Act which were critical in the fight for women’s liberation. Such political and social gains were paralleled with new fashion trends, which brought more variety to women’s wardrobes. For instance, sexual liberation fuelled the ‘androgynous look’ which saw the rise of unisex clothing. Further, as more women entered the workforce, power dressing became popular with

trouser suits and looser, less constrictive clothing entered the mainstream for women’s fashion. A pillar of this era was the mini skirt, a look often credited to designer Mary Quant. In the early 1960s, the mini skirt took centre stage, and combined with ‘over the knee’ boots, the style became synonymous with the modern woman. The silhouette was a refreshing change in women’s fashion, pioneering a more energetic and boyish look - reflecting a period of women’s political, social, and sexual liberation. The idea quickly took off and was popularised by icons such as Twiggy and Yves Saint Laurent. Indeed, the design was so adored that Dior’s decision to not feature the skirt in a 1966 fashion show sparked protesting. Like Quant’s design, Diane Von Furstenberg’s dress which was easy to slip on and off became an iconic staple as it symbolised women’s new found sexual liberation, following the legalisation of contraception and abortion.

The Graphic T-shirt has also established itself as a staple of feminist dress, and arguably still is today. Graphic Tees have long been associated with political messaging. A particularly important and popular phrase of the 1970s was ‘lavender menace’. Originally used to dismiss gay women within the feminist movement, the term was reclaimed by lesbians who wore it printed on graphic tees. Activists such as Rita Mae Brown used the term to demonstrate solidarity with lesbians who were often excluded from second-wave feminism. Continuing the tradition, the phrase ‘This is What a Feminist Looks Like’ was printed on t-shirts in the 90s in a fight against the stigma. Again gaining traction in 2016, President Obama picked up the phrase in his publication on feminism in Harper’s Bazaar.

However, not all advancements of the graphic tee as a ‘feminist trend’ have been as meaningful. Selling for $710, Dior’s ‘We Should All Be Feminists’ top inspired by activist Chimamanda Ngozi Adichie, demonstrates the intense commercialisation of what was previously a symbol of the fight for gender equality. Fast fashion brands such as H&M and Topshop have also taken part in the trend, an ironic advancement as brands such as these benefit from poor working conditions that disproportionately affect women and girls. Advancements such as these indicate how the idea of feminism is often being harnessed by fashion brands nowadays to make profit.

This does not mean that fashion has lost its political power and impact, new trends such as the Pussy Hat, which became a symbol of female solidarity after the election of Donald Trump, continue to act as symbols for feminism. However, the role fashion plays in feminism is no longer as pivotal as it used to be.

Models: Anouk Richards and Imani Stone

Makeup: Tamara Zahid

By Amber Bennett

Photography by Amber Bennett Modelling by Giacomo Tanner, Szymon P Kogut, Sara Etukudo and Mihika Kumar

In fashion, moments where we look back in retrospect to periods of the past are most commonly found during the formation of a new trend. The reason being that fashion trends are cyclical: we revive trends which emerged years ago, and resuscitate them alongside the contemporary fashion of today.

Multiple factors can give rise to a trend resurging. Nostalgia for eras of the past is a prominent one, which in general is elicited by the huge amount of content we have access to on social media, whereby we witness others’ ideas, art and music, and get inspired to reevaluate current trends which start to appear boring in comparison. Social and cultural factors are also at play: an old trend cannot just succeed out of nowhere, the right socioeconomic climate must also create the appropriate conditions. Additionally, people nowadays are utilising fashion more than ever to communicate a message — whether it is to showcase their political views or to show alliance with a movement, clothes can be a means of expressing political defiance or raising awareness of a particular social issue. This means that trends which were once the face of past political movements are making comebacks in the light of similar protests and attitudes.

One such example is the most recently forecasted trend revival, that of the Indie Sleaze. Indie Sleaze is the so-called ‘Tumblr grunge’ aesthetic, which reigned in the early 2000’s. It was an era characterised by an ‘I-don’t-give-a-f**k’, hedonistic attitude, and saw the rise and consolidation of the definitive hipster style, 80s splendour, 90s grunge and candid, amateur flash photography. The fashion items of the day ranged from knee high socks, cringy-tees, tight denim, skinny scarves and disco pants to subversive basics, platform boots and chunky necklaces. The effortless ‘it’ girls of the movement included Alexa Chung, and Kate Moss, both of whom embraced the rockstar girlfriend attire of sheer, studded or metallic dresses, thigh high boots, and a statement fur jacket, paired with dishevelled hair, smudged eyeliner and a cigarette in hand.

The resurrection of Indie Sleaze fashion can plausibly be said to have been triggered by the current socio-political state of the world, and its likeness to the time when the Indie Sleaze aesthetic first surfaced. Following the COVID-19 lockdown and the current cost of living crisis, trust in the government is at an all-time low, with young people feeling more and more exasperated at the way our country is being run. This attitude is reminiscent of the beliefs held by the generation implicated in Indie Sleaze’s origins, as the Great Recession of 2008 turned young people towards rebellious, hedonistic acts of partying and doing whatever they liked in the spirit of discontent and anger at the ruling classes. In a fascinating meeting of fashion, history and culture, we are currently observing a reaction to the current economic climate, and a nostalgia for a world in which you could still live cheaply.

The way I see it, if Indie Sleaze is truly having a revival, the most fundamental page we can take from this trend’s followers’ book is their mentality of wearing practical clothes which they like to not care what other people think, and to just dress in ways which please you. Ultimately, the clothes you buy should not reflect a trend, but rather your style, and your identity.

DirectedbyImaniStone

Modelling by Yeabi Zhou, Madeline Lee, Anouk Richards, Imani Stone, Aneeta Lei, Nina Kapalkova

Makeup Artist: Alix le Hello Assistant Makeup Artist: Anna Ionescu

All of our bags are made by hand in family workshops in Bogotá. Crafts have always played an important role in Colombia over the centuries. The craftsman is an artist of everyday life, whose creations are rooted in life. Far from having only a practical function, they embody a part of the collective cultural identity and exalt the interrelationship between people and places. This combination of function and poetry appeals to us. We strongly believe that both industrialised and developing countries share a common concern for the preservation of crafts.

The bags our Colombian artisans have designed are handmade, quality, long-lasting, and eco-friendly products. Our raw materials are plastic strips that are commonly used for packaging purposes, which our artisans recycle into different coloured strips. Without using tape, they convert this versatile material into a colourful woven basket. By creating

a new object without producing anything, we are saving our natural resources and reducing fashion’s carbon footprint. In this way, we are doing our part to protect the environment.

We are also proud that our bags help keep old traditions alive while also creating jobs with fair wages in Colombia. Many women and young people from provinces with political conflicts or high unemployment have moved to Bogotá. Together, we can offer some of them the chance to build a better life.

You have found the best bag.

Thank you once again to Deniz, Bianca, and Camilla! We had so much fun during this first photoshoot in the UCL FilmSoc studio. I hope you like the pictures, and if you want to see more, you can follow us on Instagram @zuncho.me.

Written by Jade Ygouf Models: Bianca and Camilla

Photography: Deniz Pasli

Zuncho is born out of a deep love of Colombia.

FASHION

By

Maahika Singh

Photography by Songju Kang and Safiyah Moloobhoy

When we think about inheriting traits from our parents, we often mention their eyes, their smiles, and their laughs, but what about their styles? Clothing is often passed down through generations, conveying the trends of the time, carrying memories and stories as well as connecting people to their culture. The photoshoot concept I have combined with this article was inspired by my mother, who is not only incredibly fashionable but also has a master’s degree in textiles and clothing. Rummaging through her wardrobe has always been a fond pastime of mine and she has had a massive influence on my sense of style. I know I am not alone in this, which is why I wanted to explore the importance of generational fashion and share some of the stories of my fellow models.

Clothing can be a critical way to connect to one’s culture. In Indian culture, traditional garments are extremely important in connecting mothers to daughters, with Indian attire such as Lenghas and Saris being passed down from generation to generation. In the photo shoot, the black lengha featured and modelled by Hannah and me is very special as it was designed together with her mother. They scoured the streets and the markets in India searching for the perfect fabric, a suitable dyer, and the right cut. After going to the most famous store in the city for options and not finding the right fit, they found a golden shawl featured in a small artisan shop. The golden shawl also known as a ‘Dupatta’ is a focal point in this outfit. This was the first piece that Hannah and her mother designed and

curated together. This Dupatta not only acts as an heirloom but also beautifully represents their shared love of fashion and culture. As members of the Indian diaspora living in the UK, this lengha connects Hannah to her country and culture. As a member of this community too, my mother’s Saris not only remind me of her but also of memories from my childhood travels to India, the festivals, and the vibrance of my hometown.

The power of clothing in invoking memories is understated. Wearing the clothing of loved ones can create nostalgia and comfort, which can act as powerful reminders of the past. This is especially important for those who have lost loved ones as clothing can act as a tangible presence of someone who is no longer here. In the accompanying photoshoot, Camryn is seen wearing a hockey sweater that belonged to her father who passed away when she was three years old. She explained that her father loved hockey and played frequently, and wearing his sweat- er is one of the only ways for her to get to know him since he died when she was so young. Camryn expressed the power of fashion explaining how “clothes are such an important way for individuals to express themselves” and how this expression has afforded her the opportunity to connect with her father.

Models: Charlotte Bailey, Ghalia Alsayed, Alice Lilley, Hannah Kaur Deol, Sarah Yang Qu, Maahika Singh, Camryn Pedersen

As well as provoking memories, fashion can be used to exhibit one’s individuality and style. Charlotte wanted to emulate her aunt’s colourful character in this photo shoot - strong, independent, and successful. She describes the statement blazer she borrowed from her aunt’s collection of assorted blazers with daring patterns and shoulder pads. She coupled this with her aunt’s “iconic red lipstick and striking kohl eyeliner”. To pay homage to her aunt, Charlotte styled her look similar to some photographs she found proving that both clothing and makeup provide a powerful vehicle to express one’s unique style.

Due to the cyclical nature of fashion with trends coming in and out of style hand-me-downs have become fashionable in today’s day and age.

With the increasing awareness relating to climate issues, sustainability has come to the forefront of many sectors especially fashion where overconsumption is rife, and according to Oxfam, 80 billion clothing items are purchased globally each year. For this photoshoot Alice is seen wearing one of her mother’s mesh tops, explaining how incredible it is that this style was popular in both generations. Although fashion pieces have been passed down generations for decades, the increased interest in sustainability has brought this method of styling into the mainstream media and pop culture.

All of us modelling in this shoot believe clothing is a powerful tool used throughout generations to express culture, and individuality and to evoke memories.

MATERIALS OF THE FUTURE

With an increase in garment consumption of 60% between 2000 and 2014, the growing use of materials is negatively impacting the environment, with 85% of textiles ending up in dump sites across the world. This is all part of the concept of the fast fashion industry, which accounts for 10% of global pollution and is the second largest industrial polluter.

Every year over 27 million tons of cotton are produced; equating to 27 t-shirts per person. Extensive cotton cultivation causes deforestation, soil erosion, and degradation. Furthermore, the excessive use of pesticides and fertilisers leads to water contamination (due to runoff), decreasing the health of biodiversity in surrounding ecosystems.

Another common material used in clothing is polyester; a synthetic fibre created from coal, petroleum, air, and water; requiring a huge amount of energy to be produced. Clothes dumped in landfills last up to several decades as they are not biodegradable. Fibres from polyester (microplastics) increasingly end up in various water systems such as the ocean and are absorbed by its habitants; eventually, ending up in our food chain too.

As companies shift towards a more sustainable approach, new textiles are being created using different materials and resources. The most surprising “thing” I

found that was being made into textiles is seaweed. The production of seaweed as a textile has been around for close to 100 years, which raises the question of why it has not become mainstream. The harvesting method (currently from Icelandic fjords) is considered to be eco-friendly but could change if over-produced in the future. The manufacturing process is energy efficient and has received the EU Ecolabel.

vantages including less water use (approximately 50% less than cotton), adaptability to dry areas, fast growth, and the fact that pesticides are not required (which is better for water systems). Despite its ecological benefits, like most fabrics, there are also some disadvantages to hemp. One of the most notable disadvantages is that the fabric is easily wrinkled and requires more ironing and hand-washing to preserve the colour. Hemp is often duller in colour and as a result considered less aesthetically pleasing by some consumers. It is also still very costly like seaweed and suffers from stigma considering its close ties to marijuana.

Seaweed fabric is made using algae; adcophyll nodossum. Basically, it is created by mixing the plant with cellulose to create yarn. The chemicals that are used to treat the seaweed are not released into the environment but reused in production. The use of seaweed fabric is limited due to cost and general accessibility as there is a lack of manufacturers. Nonetheless, many still think that seaweed has the potential to be the fabric of the future.

Another material being used increasingly to make fabric is hemp, belonging to the same plant family as cannabis. Similar to linen, hemp is easily produced as a textile and growing hemp has multiple ad-

These are just two of the many new textiles that are being explored. There are many others on the market such as making faux leather from bamboo, cactus plant, or pineapple; or using the banana plant as a substitute for polyester. Textiles such as these are still being developed to make them fully sustainable and functional within the fashion industry. As research efforts have increased more ideas are coming forth but, the underlying problem with most cutting-edge textiles is the high cost. The shift does not only have to happen in how we produce clothing but, in the ways in which we consume, placing more emphasis back on quality instead of quantity. As these technologies advance and are increasingly available, a decrease in textile production costs is likely in the future.

By Anouk Richards

“WE NEED TO CHANGE HOW WE PRODUCE OUR CLOTHES”

PAINTING THE WHITE CANVAS

WITH

COLOUR.

by Amina Abdiaziz

Not often do we encounter people of color in the fashion industry given that it’s a predominately white field. Only with today’s pursuit of diversity can we visually see an abundance of Black models and Artists. Chanel, a company founded almost 112 years ago, recently had its first Black-male-model walk a show in 2019; his name was Alton Mason. Even if Black impact on fashion is only visible today, in retrospect it has always existed.

Many fashion trends we love derive from Black Culture. The lettuce hem that was popularized in the 80s and reintroduced in 2020 was actually created by a Black designer named Stephen Burrows. Sneaker culture and gold hoops also stem from Black culture; however, with the emergence of trends like the “clean girl aesthetic,” we notice the

damaging effects of non-recognition. With this specific trend, we can see the irony presented as gold hoops, slicked-back buns, and minimal makeup were reclaimed and identified as clean femininity. However, the Black and Latinx creators were originally not included in that description. It makes it incredibly difficult for creators of color to flourish in the fashion industry when they’re never accredited for their work. When the world makes them believe there is no room on the white canvas for some color.

As a collective, we need to put Black designers on the same pedestal as their white counterparts. When their time had come, when they excelled, the world failed to recognize them for

Photographer: Daniel Musherure Stylist/Creative Director: Amina Abdiaziz

their achievements. How many people can say they know of Ann Lowe? The first recognized African American designer who produced magnificent gowns in the 50s. Few people can say they do because she was known as their best-kept secret that they forgot to pass down throughout the generations. We can’t neglect our current Black artists in the same way. People who have shaped the industry such as Dapper Dan who bridges the gap between high fashion and streetwear and Telfar Clemens who creates designer bags that are affordable to everyday people, deserve praise. When we fail to accredit designers like Virgil Abloh, Telfar Clemens, Dapper Dan, and Carly Cushnie, we risk forgetting them. As the fashion world is always innovating, one can only hope that this includes the recognition of people of color going forward as well as in the past.

Models: Jihaan Raghe, Hodan Salat, Daniel Musherure, Aliya Freberg, and Essey Goitom.

Since Idalia launched her strategy company, Idalia INC, she has had an illustrious roster of brands such as Dior, Chopard, Valentino and Cle de Peau Beaute where she strategizes and executes spectacular social media campaigns. Her unparalleled results have made her one of the most sought-after in the space. She has also been heralded as being the mastermind behind the businesses of the most prominent faces in fashion and beauty including Chriselle Lim, Brittany Xavier, Marianna Hewitt, and Coco Bassey. As an avid journalist, with a distinct beat for fashion, social media, and travel, she travels throughout Fashion Weeks and beyond to report for WWD, World Traveller, WhoWhatWear, AirMail, The Daily Front Row, and many more.

How would you define the role of an influencer?

The role of an influencer has definitely changed since I started working with them (ahem, "bloggers") over a decade ago. What started off as sharing outfit photos and calling it a day has evolved into something much more organic and sustainable. As we embark on 2023, influencers are the voices for cultural, social, and environmental stances. There is a responsibility for influencers to make social media a friendlier and more inclusive place as well I always say we should all leave the social media world a bit better than the way we found it.

What are the 2 most common things brands look for in an influencer?

What would be your top tip for influencers to stand out in the over-saturated market?

Listen to your audience - they are your best guides. When I strategize with influencers one of the first questions I ask is, “What content performs the best?” That’s your north star.

❞

❝Authenticity and engagement

If you ' re interested in learning more about Idalia please visit her website www.idaliainc.com and follow her on Instagram @idaliasalsamendi

More times than not, that particular content is the most authentic and natural. It’s not forced. So when looking at an over-saturated influencer market, the way for an influencer to actually “stand out” is to be their authentic selves Enjoy 25% off all her online courses (including her awardwinning "INFLUENCER MASTERCLASS") by using promocode: EMPOWER25. Valid until March 1, 2023. www.idaliainc.com/courses

TRANSCENDENT REALITY

Photography by Aadithya Shankar

A lens of the world captures us like a souvenir.

Dreadful as each minute drops, In a mirage, we’ll disappear. Beyond caged eyes of dark nights, the sunlight of the day, We aren’t too different between faded shades of gray. Don’t they know how we survived? Nothing chained in the wild can stay. We sprint like prey, mask our escape In the tall wet grass, Split the path, whilst mistaken footprints vanish beyond the bleakest of mist.

How can they separate us by continents, rivers and seas, sculpted bones, and identities?

If purely they’d look with the heart, They’d see we’re just about the same –Humans they wear the flesh of our skin, And just like us, they want to fly; Feel free, untamed.

Poem - Françoise Hélène

Models - Koshtub Vohra, Camilla Mina, Trinity Rungasamy, Vassiliki Maalouf, Lea Schwartz, Lakkaya Palmer and Françoise Hélène

Black & White Photography - Winnie Sae-Seung Graphic Illustrations - Samuel Toi

Saturated in Nostalgia:

A Changing Trend Cycle

Fashion often returns in cycles: In the 90s, there was a huge rise in the popularity of fit and flares inspired by Wrangler’s high-waisted jeans of the 70s. Today, Y2k’s double denim and micro skirts have made a comeback. The trend cycle has been used for years to predict the flow of fashion but this cycle has changed. As social media engagement continues to rise and new micro trends begin to emerge, so many sub-genres seem to be trending at the same time. The cycle that once averaged 20 years, seems to have shortened significantly.

Trends usually go through 5 stages: introduction, rise, peak, decline, and obsolescence. The introduction stage is distinguished by the resurfacing of a past trend. During times of instability, we look toward the past with a sense of nostalgia. This constant reflection on the past sparks new ideas which we often incorporate to suit a modern style.

In the past, what wasseen as fashionable was often dictated by highend fashion brands. These companies used forecasters who have studied previous revival cycles to predict future interests and pitch them to the public. Nowadays, things gain popularity through the media. Hyper Bazaar estimates that 4.6 billion people use social media, averaging 7 hours of screen time daily. Fashion haul videos have achieved stable engage-

by Victoria Andrews

ment, introducing new micro-trends and encouraging the public to buy more. ‘Good on You’, a sustainable research website, describes micro-trends as those that ‘rise to popularity quicker and leave the trend cycle faster’. When we see a fashionable item multiple times on social media we become familiar with them. Seeing our favourite celebrities modelling these items makes us want them and just like that, they are trending. However, due to the overconsumption of different products, trends are no longer collections of themes but are more along the lines of ‘must-have’ items. A perfect example is the rise and fall of crochet pieces over the summer. Last summer, crochet items were found in the majority of clothing stores yet by autumn they had become scarce. People tend to want desired items when only a select few have them and then class them as ‘uncool’ when they are readily available. Fast fashion has become reliant on these fast trends to fuel the creation of collections. Many consumers have adapted to this fast pace fashion lifestyle, influencing many to follow with the fear of being left behind. This ideology has left us underwhelmed by innovations that

may take longer to execute and produce. Tra ditional trend forecasting is becoming hard er to predict over longer periods of time. The once glorified collections now are at risk of being classed as cheugy or unoriginal.

It’s interesting to think that 60 years ago a sim ilar crisis occurred in the fashion industry. The mod era ruled the 60s, celebrating pa rental freedom and driven by the excessive hunger for originality. The pressure for new trends to be more ‘unique’ combined with the expectations of individuals to keep up led to the rise of fast fashion and thus, came paper dresses. Though the paper dress era dominated the scene for only a short period, it’s a phenomenon that depicts just how short the trend cycle had become in the 60s. The dress’ loud pop art and new crazy designs were widely praised by the public. They were cheap ($1.25), could be altered with just scissors and sellotape, and were easily disposable. According to the V&A museum, during the height of the era, Mars Hoisery, one of the paper dress’ main producers, made approximately 100,000 new dresses a week. However, this era came to an end in the 70s due to the growing environmental ages and the end of the mod.

So what can be done about this phenomenon? As micro-trends continue to branch out, it has become harder to distinguish one from the other. Nothing seems original anymore: the fashion market has become overly saturated with infinite versions of the same pieces. At the mo ment, mohair jumbo scarfs can be found everywhere.

It is hard to have a sense of originality when the majority of fash ion providers make it hard to experiment. Developing a more personal style can prevent the need for buying seasonal trends that don’t align with your wardrobe. Filling up wardrobes with classics can help your wardrobe with stand the age of time.

TIM BURTON

now in colour.

Tim Burton seems to think people of colour don’t fit his aesthetic. When asked about the exclusion of people of colour from his artistic universe, he has stated that “things either call for things, or they don’t”.

We decided to prove him wrong and show him that art doesn’t excuse prejudice.

Photographers: Songju Kang and Claire Yubin Oh

Models: Ibukun Osibona, Elsa Lamptey, Sara Etukundo, Victoria Andrews, Divine Afelumo, Charlotte Jin, Madeline Lee, Demi Nwadike, Alexa Wong, Mihika Kumar, Aadya Bhagat, Anita Lei, Maahika Singh Styling, Makeup, Hair & Crew: Lia Jorge, Zoe Dupe, Sophie Habkirk, Tamara Zahid, Angelica Ngai, Ghalia Alsayed, Giacomo Tanner and Rachael Hawthorne

HOW THE PAST HAS SHAPED MY IDENTITY

WHERE DOES YOUR STORY BEGIN?

o you remember your fondest childhood memory? If you picture yourself when you were  five years old, what is the first picture that comes to mind? I recall myself running behind my childhood home during spring and summer, picking blossomed flowers, holding them with innocence, without thinking they would eventually die.

From our first cry as babies, the world exposes itself to us, and from there, we embark on an unforeseeable journey of self-discovery. Without warning, we are faced with overcoming life’s unexpected chal lenges. Our culture and surroundings influence our thoughts, the food we eat, the way we dress, our interac tions with others, and who we are.

Perhaps, from chimp to human, history helps us understand the concepts of growth and evolu tion; the circle of life. Then comes a point in life where you remem ber you once wore shoes that were the size of your grown-up hands. In our teenage years or early adulthood, many of us ask ourselves questions bigger than us, and our minds explode. We ponder upon who we want to be in the world, which path to carve for ourselves, what fires up passion in our hearts, and what career to pursue, and the list is endless. I hope you know you are not alone. Many of us go through lost avenues before finding our way.

When I started learning English at twelve years old through music, inspiring song lyrics led me to googling the definition of words and reading quotes in English as my second language. Doing this became enjoyable enter

by Françoise Hélène

tainment for me. However, no one else my age seemed to think so. Inspired by rhythmic words and their meanings, my journey has led me to being a poet and author today.

At the beginning of my author’s journey, childhood scars came back to the surface. I lacked confidence in my uniqueness. I feared standing out without intentionally wanting to. My interests were different from others my age. I was quieter, constantly observing the world passing by. Today, I’ve learned to accept myself,despite others telling me for years thatI did not fit in as a child. For a long time, I was afraid of being noticed and seen, but today I am an occasional model and getting out of my comfort zone has taught me a lot about myself and I know it can teach a lot to you too. I hope you learn to be gentle to yourself and embrace the experiences that made you who you are today. Looking back on my childhood helped me understand my fears and my denial of being an old soul. How did your childhood impact who you are today?

Whilst experiences from the past cannot completely define who we are today as we keep learning from our mistakes and mentally grow, they help us understand the foundation of ourselves. As the years go by, we unconsciously form our identity and absorb subtle messages from our environments. The people in our lives and our culture also play a part in shaping our identity. Our

own and ancestors’ histories are tools that give us insight into who we have become, both genetically and mentally.

The past connects us with the present and future from many angles. Not only does it explain the evolution of technology, governmental systems, wars, and society as a whole, it helps us develop empathy for others and ourselves. History reveals the fundamentals of our identity, and both the importance of historical contexts and self-iden

tity are not to be forgotten in today’s world. Perhaps the self-discovery journey is long-lasting and timeless. The winding roads aren’t always easy to travel, but you will get through them. Many of us have struggled to accept where we came from, the roots of our being, and to look at ourselves in the mirror with full confidence and self-love. Do not fear to visit the past. Go deep into your roots and understand yourself better. Get to know others but don’t forget to unfold your own story because if you live someone else’s life, whose life are you living?

WHERE DOES YOUR STORY

STAYING RELEVANT.

By Emily Pometkov

Photographers: Chenlu Yu, Sam Prescott

The photo shoots were curated to pair with this article’s explanation of different strategies used by luxury brands to stay relevant. We have Diesel’s classic double denim, Ralph Lauren’s Ivy League aesthetic and finally the plastic cups piece inspired by Iris Van Herpen’s 2015 3D printed collection.

As consumers, we are spoilt for choice. Due to the ever-evolving fashion market, it is difficult for brands to stay in the spotlight. So how do fashion brands stay relevant?

Controversy is one-way to create hype around a brand. The idea is to keep them talking about you. One of the best success stories utilising controversy is Diesel. When you think of Diesel, three words come to mind: innovation, provocation, and denim. To out compete Levi’s, which had taken over the European jean market, Diesel launched campaigns in the 90’s. These included Sun City: a black guy jumping into a swimming pool and LaChapelle’s two sailors kissing at a WWII peace celebration. By sparking conversa tion about race, sexuality and politics Diesel grew by setting itself apart. One thing was clear: Diesel will not bow down to the American Dream or common marketing strategies. Even now, Diesel does not dis appoint. Their microskirt from the Fall/Winter 2022 collection generated titles like: “Diesel is furiously mocked” for a “chunky, low-waisted 90’s belt”. Perhaps, what was more outrageous was the speed with which this $1375 belt sold out. Whilst being a risky move, it was an homage to the past - to a fashion faux-pas!

The dream factor is another way of advertising that brands use to stay in the spotlight. Unlike Diesel, Ralph Lauren is all about the American dream. The Ralph Lauren aesthetic screams Ivy League, sophisti cation, and exclusivity. Ralph Lauren does not just sell clothes. No. It sells status. They seduce us into buying into their dream of living a prestigious life. It is the feeling of wearing these clothes that allows them to sell and to continue selling throughout generations. A friend once said, “you can tell it’s Ralph Lauren without the little embroidered logo”. Admittedly there has been a movement towards cable-knitted sweaters and polo shirts seen trickling down to many fast-fashion brands such as Hollister. This lets people achieve a similar style for less. However, no one does Ralph Lauren like Ralph Lauren. The fantasy created is why people always grav itate towards it and is precisely why they have stayed relevant. There was, is, and will always be Ralph Lauren.

Sometimes, it is not just about the controversy or the dream factor, sometimes you need to be the one to set new trends. This was the case when Iris van Herpen created her first 3D-printed garment in 2010, called the “crystallisation top”. This is very innovative as 3D

printing is cheaper, faster, and reduces waste production. To successfully construct a collection with 3D printing, which many people believe “limits creativity”, is impressive. In fact, the collection was so successful that all their collections since have featured 3D printing in keeping up with their avant-garde aesthetic. I was inspired by this collection and the shift towards sustainable fashion to create a piece made from Pret cups after noticing these cups take up the majority of the rubbish bins in our library, thanks to the Pret subscription. Taking ethical and sustainable decisions garners a lot of traction for a brand. Already people are becoming aware and educating themselves on the morals of their chosen clothing brands. Diesel was able to create shocking campaigns because there was no platform for people to speak about

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