Society President Cate McGowan @catemcgowan
Editor-in-Chief Sabrina Ciauri @brinajade
Graphic Design Jeanmarie Fisher @jeanmariefisher
Graphic Designer Shyla Robinson @shylarobinson
Head of Graphic Design: Julia Podkolinski @juliapodkolinski
In consideration of how the COVID-19 pandemic has altered urban lifestyles around the world, MODO has decided to dedicate this first edition, ‘Urban Decay’, to our shared experience of lockdown; to provide a platform for our members to explore new ways of looking at culture and fashion as both challenged and inspired by physical isolation. This special edition is our alternative to the annual December show, which could not take place in light of the restrictions regarding all in-person activities. We have harnessed this project as an opportunity to readdress the familiar setting of home as an editorial stage.
As MODO Magazine’s Editor-in-Chief my goal was to provide our viewers with fashion journalism with an academic twist. I feel we have accomplished this goal with articles ranging from the economics of fast fashion to using fashion to raise awareness about providing solar light to rural and urban African communities. I believe the personality that is reflected in each article has made this edition so truly unique.
This portfolio of images and articles encapsulates the idea of optimism; an aesthetic and textual manifesto of creativity in a time of crisis. All of our visual media was conceived, designed, and produced remotely. I’d like to thank the hard work and dedication of our team, specifically our models and committee members, and their attentive contributions to this publication. I am proud of our final product and I hope that we have created a lasting document of the UCL community as we experience our formative years of university in lockdown.
Editor-in-chief has been an amazing leadership role and I am so proud of our team and what we have accomplished together for this January Edition. I hope you enjoy and I would love to hear your comments or feedback: sjciauri@gmail.com
Cate McGowan
Stay tuned! Sabrina Ciauri
I have thoroughly enjoyed getting to know each and every member of the team and I am very much looking forward to meeting you all in person.
If you are interested in getting involved in MODO Magazine as a writer, graphic designer or model please feel free to reach out. I am looking forward to our March edition.
Culture Collages: A Testament to Today
Science & Fashion: Finding Inspiration in Lockdown
Urban Decay: A Visual Article Wild Soul Bijoux: Brand Launch Brand Launch- La Talia Poker Capsule Collection Is the Glamorised Tragedy a Sad Reality? The Devil Wears Fast Fashion Living in the ark: Solar Light in Africa Creativity in Lockdown Relocating Styles MODO’s Virtual Photoshoot Confessions of a Depop-a-Holic The Future of Our Urban Areas
by Cate McGowan
The artist is “a public person, a specialist in political and cultural work with the masses, a constructor [...] who can build a composition using entirely new principles.” – Gustav Klutsis, Engineer, Agitator, Constructor: The Artist Reinvented, 2021. Museum of Modern Art, New York. The moving images and fragmented still images presented throughout this magazine are a manifestation of creators (artists) as constructors of culture. The challenges we faced in the development of this editorial are the same challenges faced by us all in today’s global lockdown: physical isolation. At MODO magazine, we sought to translate this temporal state into an aesthetic. In typical avant-garde fashion, we sought to build these visual compositions using entirely new editorial principles. Although physical isolation has restricted us from creating content as an assembled team, we utilized easily accessible products; here, inevitably, paying tribute to the unprecedented proliferation of audiovisual digital media. I, as Creative Director of ‘Urban Decay’, consciously drew my inspiration from the artists of our present: namely, from @samyoukilis, whose breathtaking moving images and perfectly balanced frames have always astounded me, and equally from @jaredkocka, whose densely intertextual collages attest to the saturated proliferation of modern media production. These shoots are a material representation of both still and moving images- the content of which was produced
outside the realm of institutional photography. Each shoot was captured through our immediately accessible lenses, ranging from Facetime, Zoom, and Photobooth, to the iPhone and Android. The editing of these images was executed through the iPhone and Macbook, and has been curated to appear as a gallery screening with informational plaques. I also sought to engage with the visual vernacular of our cities in the wake of COVID-19. Members of our society across New York City, London, and Beijing harnessed the surface tension of our changing environment both on a physical level, as cities shift between a covid and post-covid present, and on a symbolic level. The latter is represented by our models as they are captured both in cities and in front of city projections. The purpose of these heterogeneous compositions are to aesthetically represent the fragmentation of the physical and digital world we inhabit. Now, more than ever before, we are living in an intermedial realm of natural and virtual landscapes. My team and I chose to admire the impossibility of formulating a cohesive image, both on a physical and aesthetic level, and instead represented the human body as a critical rendition between the two.
FIGURE FLATTERING, TIMELESS PIECES BY LA TALIA ABOUT THE DESIGNER: MELEK BAYRAM I am Melek Bayram and I’m a second-year student studying Information Management for Business (which is basically a Business & IT course). I am the head of design at UCL MODO Fashion Society and the founder & creative director of La Talia. So far it is operating online only via its website & instagram.
PROCESS As the Founder and Designer-in-Chief of this recently launched brand, I am in charge of every aspect: from design, creative direction, sample testing, content creation, digital marketing and art direction. I handpick the fabrics from a vegan leather manufacturer and work with an atelier for the production.
FUTURE ASPIRATIONS I will continue to launch collections in a capsule format to ensure every piece has the best quality and very well-thought out designs. I am aspiring to maximize my brand recognition and sales soon and will hopefully, one day, be able to open pop-up stores worldwide. I hope to one day look back at this first article I wrote about my brand and laugh at my amateur excitement.
ABOUT & BEHIND THE COLLECTION My start in fashion was a result of being triggered by the hype surrounding fast fashion. Especially in my hometown, İzmir, Turkey, I could only find pieces that are very much forced to be trendy, that don't have the best quality, are imitations of high-end brands, and, even if they are decent designs, I would see so many people wearing the same thing. I wanted to design something that could go well on different occasions and, most importantly, gives me a chance to express my mood and play with styling. With the right styling technique, La Talia pieces can be a literal wardrobe curation that can be part of a ‘formal office look’, ‘drinks with the girls’ outfit, or a ‘quick coffee’ style. I also wanted to make sure that all of my pieces were the best possible quality, to be worn for years, and could be passed among generations. If my grandmother passed me a camel coloured leather trench coat, I would go crazy for sure!
All La Talia pieces are crafted in luxe vegan leather and created to enhance the body silhouette while delivering comfort with style. ‘T Collection’ is a combination of trans-seasonal staples. Neutral-toned signature pieces, whether dressing up or down, will carry you from season to season. ‘T’ pieces allow you to voice your vision and mood freely in the way of styling. Hence, it is for everyone and everywhere. Designs are simple enough to feel effortless, and detailed enough to feel both flattered and empowered. This collection is a demonstration of the perfect balance between effortless and elegant.
Please follow & support La Talia via IG: @lataliaofficial www.lataliaofficial.com
Based in London, UK. Unique, fine, quality designs
@aviliolondon
Is glamorised tragedy a sad reality? Demystifying the myth of a ‘tortured artist’ and ‘the ideal body size’ in the fashion industry. by Dasha Nikolaeva
We all know fashion for its glamorised splendour, chiqué looks and unforgiving speed of change. Yet, is the current culture of the fashion industry healthy and sustainable? In this article, I will touch on the so-often dismissed topic of the fashion workers’ troubles behind the glamorous closed doors and the industry’s impact on its consumers. To alleviate the weight of such issues, and ideally extricate the problem from within, I see a bright future for the fashion workers and the public overall, if we collaboratively battle the social stigma attached to mental health. Luckily, we are witnessing a positive long-term change. Each individual step causes a small shift, eventually leading to global change that will impact us as a society in a fruitful way. Mental health of the people within the industry. The fashion industry is highly competitive and brutally high-paced. The culture of ‘fast-fashion’, relentlessly exploited by its consumers, is not only environmentally detrimental, but it is emotionally damaging to producers and consumers alike. Recent suicides of the most talented and innovative contributors of the fashion world, such as Kate Spade, Alexander McQueen and Isabella Blow, have brought the spotlight on the industry’s impact on people’s mental health. While some dismiss it and say it is the price you pay for entering the industry, others begin to raise their concerns.
Much attention has been paid to the industry’s demands of its workers. Tight deadlines, international communication, endless working hours, and pressure of production puts immense pressure on the workers - from leathermakers to creative directors. As many reflect in their interviews, the work ethic is ‘swim or drown’ from your first days in the workplace. Of course, pressure can be a motivational stimulus. Yet, it should not breach ‘everything in moderation’ and force creatives to make destructive sacrifices. Marc Jacobs, having been to rehab twice, says it is not the industry to blame, but the self-destructive nature of human beings as a whole. Photographer Mert Alas agreed with Jacobs, as he understands mental illness to be related to personalities. Yet, we ought to remember that dilemmas on mental health are often disputed. It is still considered to be a ‘taboo’ subject and is only in the early stages of its development. Whether or not mental illness depends on a certain type of personality, the social environment is very often the pivotal trigger. Emphasising the importance of workers’ well-being in the workplace will benefit everyone in the industry, and it should not be disregarded. Fashion psychologist, Carolyn Mair PhD, brings in some positive news. Mair remarks that there is an increasing number of fashion workers speaking out about their mental health. As these conversations gain momentum, the stigma attached to mental health (such as perceiving vulnerability as weakness) loses its grip on people’s throats.
Fashion brands have been paying increasing attention to mental health. As small shifts lead to large-scale changes, so will de-stigmatisation campaigns and Mental Health Workshops eventually alter fashion companies’ organisational cultures and corporational infrastructures. Some examples of recent positive changes can be seen in H&M, for example, which runs internal workshops for management staff and has launched an internal campaign called ‘Let’s Talk About Mental Health’ to raise awareness among employees. Tunisian designer, Azzedine Alaia, releases his collections without following Fashion Week’s calendar, thus putting less pressure on his workers and the environment. The aim is a broader awareness of physical and mental well-being in the workplace, as well as brands sending a more positive message to its consumers on topics such as body image, diversity and inclusion. Mental health of the people consuming the industry. Now, what about the rest of us - the fashion industry’s constant observers and consumers? I want to briefly discuss the ‘body size issue’, which is intimately intertwined with the fashion industry. The projected ‘ideal’ size 0 has already resided deep in the subconscious of the many consumers as a result of mass media, television and fashion magazines.
Many often forget that behind the glamorised doors of the fashion world, you can find a much darker reality buried deep within. Designers and models alike struggle with mental illnesses and eating disorders whilst producing an excellent display on show. The consumers, adolescents in particular, watch the show and strive to imitate it. What goes on behind the scenes, however, is often unintentionally forgotten. The ‘ideal body’ is subject to evolution. It is crucial to remember that fashion trends are not our dictators and we can pick and choose what we want, and what we don’t. Your life is not subject to a fashion trend. As the ‘ideal body’ went from a curvaceous, Rubenesque figure to a 1990s ultrathin model, so can society’s views change on a daily basis. It is a hopeless and tiresome pursuit to be chasing the current ‘trendy’ perfection, as your body is unique. No one in the world has, had, or will have, the same combination of beautiful traits, whatever they may be - a birthmark on your right shoulder, the scar on your left knee, the unique freckles that give you that warm and gleaming glow - the list goes on. There are many fashion trends, societal norms and personal preferences. You are a conglomeration of your ancestors, your likings and your tastes. It is for you to choose what suits you best, and not for any trend to dictate or influence. It is time to de-glamorise destructive habits and sacrifices to achieve perfection. And the change begins with ourselves.
And the final note: Of course, I am not blaming the fashion industry. Fashion, art, and the inspiration that I get from all its people resides very deeply in my heart. I am voicing my concerns, but these concerns are all subject to time. I believe in the bright future of the fashion industry as it is an incomparable platform for sharing ideas, movements and thoughts. Therefore, we should concentrate on the light and beauty that it brings to the world, and remember its power to change the society as a whole, both socially and environmentally. Keep encouraging the conversation and fighting our battle against the stigma attached to mental health. It is not something to be glamorised, but something to be deconstructed and re-shaped. If you are experiencing a mental health-related issue or just want to have a conversation, feel free to contact me on Instagram @dxshx, email darianik23@gmail.com, or use any of these helpful resources: https://www.ucl.ac.uk/students/support-and-wellbeing/studentpsychological-and-counselling-services https://www.ucl.ac.uk/students/student-support-and-wellbeing https://www.mind.org.uk/ https://www.mhm.org.uk/ https://www.healthline.com/
Turn off the lights. Get a piece of paper and a pen and try to write your full name. Difficult, right? Now try writing your 2,000 word research paper. Impossible! This is the reality for over 13% of the global population who live in the dark. Out of that 13%, 10% live in Africa. Electricity is such a mundane aspect of our everyday lives that many people do not even think twice about it, and, in complete contrast, we have people living day-to-day without this vital resource.
Ignite Power is an organization which brings affordable and sustainable solar light solutions into the urban and rural areas of the African continent. The countries they have worked in include Rwanda, Mozambique, Sierra Leone, Mauritius and Nigeria.
The Inspiration: In Southwestern Nigeria, the traditional dress for Yoruba women consists of elements including the gele, buba, pele and iro. These four pieces of Nigerian traditional dress are illustrated by this lady to the right →
I was inspired by the layered effect of these garments and created my own design. I sewed this layered dress to celebrate the work of Ignite Power illuminating the urban and rural communities in Africa.
Dalapo, 2017
Design Elements: To sew my layered dress, I first began by cutting out three separate panels using the indigo fabric and my personal measurements. I then pinned the panels onto a mannequin and styled it. To finish the basic structure of the dress, I sewed the panels together and inserted an elastic band at the top. The trimming along the neckline of the dress was found in the African Queen Fabrics store in Brixton Village Market, and was originally made in Nigeria. I hand stitched the blue LED light strips beneath the layers of fabric to create a cascading effect. The lights rise up, displaying the slow but sure development of the African communities, through the help of Ignite Power.
The Impact of Covid-19:
I incorporated this mask as a symbol of the current pandemic. The neon paint highlights the efforts of Ignite Power to bring solar light to Africa.
While many businesses were shutting down due to the negative impacts of COVID-19, the demand for electricity increased and Ignite Power took centre stage in making this a reality for so many households living in the dark.
“The spread of the virus and the lockdowns made the importance of electricity clearer than ever, with millions at home in the dark unable to read, charge their phones and get updates from the news etc.” - Angela Homsi, CEO Ignite Power
I believe solar energy is a ONE WAY solution to making light accessible for all.
Writer: @mia_paris_ Photographer: @ciauirmedia
Great craftsmanship & individuality
15% discount code for Modo Readers:
MODO2021
CONTACT +44 07717 38 3330 @aviliolondon info@aviliolondon.com http://aviliolondon.com
FASHION IN THE TIME OF CORONA: CONFESSIONS OF A DEPOP-A-HOLIC. by Umi Mononga March 22nd. Chatham, UK. Lockdown. I sit in my living room in snake print flares and nude heels, makeup heavy on my face, wine glass glinting in my hand. I cross my legs gently, tilt my head up at the perfect angle, and smile at nothing. Normally, I’d see no reason to look like this in the comfort of my own home, but the pandemic has changed the relationship between fashion, makeup, and the self for many people. For me, this has manifested itself in a new comfortability with getting dressed up for no one but myself; an act that I choose to see as a form of self-empowerment, though I know it could be something more sinister.
In this climate of constant isolation and uncertainty, the act of buying clothes with nowhere to wear them to has become something of a weekly activity. At times, I wonder whether I am doing it because I really want to, or because I am a spineless product of capitalism; a girl unable to exist without consuming. Either way, the burst of dopamine I feel when I see the words ‘order confirmed’ does something to erase these concerns from my mind until long after the items have arrived, and suddenly I am planning my next spending spree.
***
November 30th. Lockdown (again). London, UK. It’s winter, but it’s warm in here. ‘Here’ being a student kitchen full of sweaty bodies. Once again, I'm all dressed up, as is everyone else, even though we are five minutes away from our bedrooms, which we will inevitably be sent to when security finds out there are more than three people in the kitchen. There is something comically tragic about that. There is something comically tragic about all of us being piled in here, sipping on cheap vodka and trying to salvage something of the ‘first-year’ experience that we were promised so long ago. Real parties are a thing of the past, clubbing a distant dream. At these kitchen gatherings, there is an unspoken rule that you must pretend you are having fun, and not complain.
The dizzying performativity of attending uni in lockdown is reflected, I think, by the performativity of student fashion. A quick glance around the room tells me that I'm not the only one whose student loan has been eaten up almost entirely by buying new clothes just for the sake of it. All around me I see evidence of ‘the Depop effect’- a desire to buy clothes second-hand, but only if they are flashy and impressive. As students mill around the tiny kitchen in leopard print dresses, bedazzled tracksuits, coloured fur coats, and strangely patterned corset tops, I can’t help but realise that most of these items have probably been marketed to them as one-of-a-kind, rare, vintage. Nowadays, Depop listings are flooded with such adjectives; formerly cheap items can be sold for hundreds of pounds by virtue of the idea that they are hard to find, or ‘no one else’ will be wearing them.
But the fact is, most of the people at this party look the same, in an odd, trying-to-be-different kind of way. Depop is a trend. ‘Thrift shopping’ is a trend. Looking mismatched (in a high end, £200 shirt, ‘vintage’ kind of way) is, undoubtedly, a trend. In its early days, Depop was the online equivalent of a charity store; a place to sell used clothes for reasonable prices. However, with the rising focus on ethically-sourced products, the popularity of such services has risen exponentially, with many young people condemning fast fashion on the grounds of environmental and social concerns. My Instagram feed, for example, is inundated with infographics about the evils of fast-fashion: modern slavery and climate change being its main offenders.
However, in Depop and similar resell outlets, there is a marked lack of focus on sustainability. Instead, the point of wearing these second-hand clothes is to stand out from everyone else. Furthermore, the act of buying from Depop for vaguely ‘ethical’ reasons is a double-edged sword. Upper-class people have taken over the app, and their sudden interest in it has caused the prices of the clothing to alarmingly inflate. In response to this many sellers on Depop have started buying dupes for high-end items from eBay or TKMaxx, and selling them to gullible buyers for extortionate prices. Something that was supposed to make fashion more accessible for all has become another elitist scheme.
Companies like Aliexpress are taking advantage of this by selling cheap, factory-made reproductions of ‘vintage’ items, so that those with less disposable income can also ride the wave of this new trend. Whilst it isn’t useful to gatekeep trends, the new focus on cyclical fashion was supposed to save the environment. Instead, it has been used to justify even more items of fast-fashion being produced. I’m not trying to invalidate the idea behind second-hand shopping at all. It is clear that this trend is here to stay for a while. There is something intoxicating about searching for hours on Depop, finding the perfect ‘unique’ item, and buying it in anticipation of all the stares it will get you. In a place like London, especially, this is important. A million times a day, I stare at the meticulously put-together outfits of people on the tube, or on Oxford Street, and wonder “Where did they get that from?’. It’s not enough anymore to be trendy. To get complimented, you have to be different and trendy at the same time.
I’m fully aware that people like me are part of the problem. Time and time again, the selfish desire to express myself through clothes, through looking the best I possibly can, has caused me to buy dubiously-sourced clothes that I will only wear once, at the expense of the environment. With the rise in faux-environmental awareness, there has been an influx in the idea of decadence, ‘trashiness’, and a complete doing away with the idea that ‘less is more’ in fashion. In a way, this is a symbolic rebellion against the strictures of lockdown. However, it can also be seen as a clear indicator of the way clothes are linked to class. I have seen the sons and daughters of billionaire CEOs sporting long acrylics, big hoop earrings, and ‘vintage’ Adidas tracksuits in a disturbing attempt to emulate the culture of the black working class in the 90s/early 2000s. This return to a style formerly considered ‘chavvy’ or ‘ghetto’ is a gross example of class and race fetishisation that has not been properly appropriated by many who hop on the Depop trend. Borrowing fashion from former times is not the problem, but failing to acknowledge the oppressed groups from whence these styles came from is.
This desire to replicate the past in more high-end fashion items, such as the ‘strawberry dress’, a £400 bundle of tulle and silk that looks like an 1800’s ball gown rather than a 21st-century fashion statement. Nonetheless, it has garnered attention on TikTok from teenagers who probably couldn’t afford it, much less find somewhere to wear it in these times. On the one hand, the ‘strawberry dress’ is a symbol of a longing for an antiquated period. The rise of the period drama may have something to do with this- the sudden popularity of media such as Oscar nominee ‘Little Women’ and Netflix hit ‘Bridgerton’ reflects the youth’s growing interest in aesthetics such as ‘royalcore’ and ‘cottagecore’; both of which are characterised by decadence, freedom, and long, flowing dresses. A recent vogue article implies that the recent millennial and Gen-Z obsession with the outdoors stems from the outdoors being seen as a potential place of human contact. The pandemic, therefore, has proved that fashion is not a matter of ‘looking good’. It is a form of indirect interaction with each other, and a reflection of the state of people’s minds at any given time.
Of course, I am aware that to even be worrying about the implications of fashion during a pandemic is a form of privilege; that to consume and create when so many people are dying is an ignorance of sorts. But this, I suppose, is the guilt that comes with all forms of art- the guilt of creating something useless for a moment of temporary bliss. Capitalism has created a world in which fashion is now a form of self-expression, not only for the likes of models and designers, but for the ordinary individual. With the multiple avenues available for buying clothes, and the constant agenda being forced that clothes are a way to express ourselves, it is impossible for anyone to buy with the sole purpose of being sustainable. But I believe that we should still all try. It will take me a while to cure my Depop addiction, but in the meantime, I will be reading the listings more carefully, asking sellers questions about where the items are sourced from, and resisting the urge to splurge on things that I’m likely to wear only once or twice.
@ooo.me
In this article, I trace a personal project in order to question how style adapts when moved from the urban setting to the rural, and question if we should have to change the way we dress in different settings at all.
By Nia Griffiths The pandemic has challenged us all in various ways, and now that we have experienced several lockdowns we are all finding personal and collective ways to combat loneliness, boredom and hopelessness. Wherever lockdown finds you, be it at home with your loved ones, with your flatmates, or alone, it is vital that we find new routines, and put a little energy into something we enjoy each day (wherever possible). Personally, I found, and still find, this a challenge. As someone who thrives on routine, the March and November 2020 lockdowns threw me into a monotonous cycle, spending around eight hours a day on TikTok or Instagram. Both times, I moved home to the English countryside, which moves much slower than the bustling city of London that I fell in love with back in my first year of university in 2018. Ironically, though I grew up in the countryside, I own practically no clothes or shoes that fit into the reality of muddy paths and fields. As a fashion enthusiast, planning my outfits for university and having fun with patterns and textures is something I truly find joy in, but at home I found myself neglecting this interest and opting for comfort because I asked, “what’s the point?”. It was in November that I started to change my attitude, and I decided to channel my energy into this hobby and create some outfits that were not ‘traditionally’ suited to the countryside, take some pictures, and superimpose them onto backdrops taken on walks with the dog to juxtapose the urban with the rural.
This light-hearted project raised some interesting questions surrounding how people dress in different environments, and how this is clearly relevant in a practical aspect. This winter has been cold, wet and sometimes a little bit snowy- clearly not ideal weather for tights, mini skirts and cropped jumpers. However, each morning I woke to see my opened suitcases on my floor, and the ideas of outfits I can’t wait to wear when this is all over were replaced with why don’t I create a situation where I can wear them? At the end of the day, I could at least create cool visuals that I enjoyed without having to throw on wellies and a raincoat over them– and enjoy the hobby that I hadn’t previously realised provided me with such a creative outlet.
I created six photos, in which I tried to play with textures, patterns and silhouettes, that might look traditionally out of place against the greens, oranges, and greys of the countryside. The outfits themselves were simple, and specifically things I would wear without second-guessing myself in an urban environment, but might have felt awkward or ‘extra’ wearing to the village shop. Through this, there is a challenge regarding how much meaning we assign to clothing; the dressed body clearly holds power—it can make us feel confident, embarrassed, comfortable and safe. How do these definitions twist and morph when we are moved to a different location?
People traditionally change their behaviours based on where they are, and the pandemic has certainly caused many of us to have to adapt the relationship we have with dress. This does not just apply to the rural/urban juxtaposition, but also to the zoom meeting, casual social interactions (when permitted) and other dynamics that we previously gave little thought. Yes, we can invest in comfy clothes that are frankly more practical during these times, but those of us who enjoy fashion, or place meaning on the clothes we wear, can also create opportunities in which we can still dabble in this hobby. This is also relevant when it comes to not having to invest in a different wardrobe for every environment we might find ourselves in, we can find new ways to play with the urban/rural habits to repurpose the clothes we already own to make them more appropriate for different environments. Overall, this small project was a creative outlet that brought a little joy into my routine, but also posed some larger questions surrounding the repurposing of clothes when we move around, and how we might endeavour to redefine the limits we apply to our dressed bodies in rural/urban settings.
@_niagriffiths
The merge between science and fashion covers a broad spectrum of subjects typically including the fields of psychology, material sciences and engineering. Taking license from these circles, Dr. Yuly Fuentes Medel created the multidisciplinary initiative, Descience. The 2014 initiative produced a three-dimensional fashion line incorporating design, science and technology; one of the line’s most famous pieces was called ‘Harmonograph’ by NY Fashion House, Three Asfour and Travis Frinch (seen to the left).
(Schohaja, 2014)
Other brands explore this connection with a more digital perspective, also focusing on marketing. The African digital fashion house, The Fabricant, creates a new medium of style, with their phydigital, physical and digital galleries and focus on taking their business model online: “clothing doesn’t need to be physical to exist.”
An example of this in action is their Puma x Fabricant project, a line showing their digital clothing construction process.
The Fabricant is also a prime example of where fashion may be heading, especially given the recent boom in online fashion and sustainability. To them, “sustainability is the new black,” bringing the idea to life by “harnessing technology to reduce the environmental impact of garment creation.” For example, the firm compares the lifecycle carbon footprint of a single T-shirt, 7.8 grams, to a digital-only Tee, 0.25 grams. It is truly impressive to see how the fusion between engineering and fashion can create a greener future.
Another, more unique perspective on the fusion between science and fashion, is the relationship between neuroscience and fashion. Aesthetics, a key feature of one’s style, are predominantly triggered as a result of the complex interactions between artwork, the observer and the context. An observer may be drawn to the soft sporty style of a Stella Mccartney piece - the artwork. Then, let’s say if the observer is a rights activist, they would be impressed by the brand’s animal rights policy, triggering their cognitive abilities to enjoy the ‘dress’ more - the observer. Meanwhile, the interaction is influenced by different environments, as these result in different schema activations - the context. Hence, this fuels the idea that art is subjective to its observer and explains the success of trends as well as the methodology behind any inspiration.
The basic understanding of such perception can be seen as universal and understood with the “laws of aesthetics, explained through the use of six categories: grouping, symmetry, hyper normal stimuli, peak shift, isolation and perceptual problem-solving.” I find the ‘peak shift’ phenomenon most applicable to the vast majority as it elucidates how each person finds unique features, those differing from an ‘average’ look, more intriguing. However, one must consider that the definition of ‘average’ is very subjective. Nonetheless, reactive imagination often depends on the capabilities of the said observer. Simpson in the American Journal of Psychology expands on how one’s creative ability can be measured: “We are looking for deviation, not necessarily the utility of the creation of the beauty of the design.” This lends to the idea that beauty and inspiration derived from it is a personalised experience, while the amount of ideas an observer reacts with is the true distinguisher between creative minds. For example, some designers are drawn to the concept of, ‘less is more’. Here, isolated doodles, simplistic statement pieces of clothing or even nudity is more inspiring, compared to a complex union of colours, materials and shapes. Meanwhile, others are inspired by science and technology, as seen with the Descience Project. Despite these differences, inspiration and creativity arguably rely on the observer’s ability to produce a plethora of work.
Even so, anyone can hone skills with practice and work but “progress is made by the realisation of limitations,” and one key restriction in the past and now is the lockdown. The consequent lack of exposure clearly seems a hindrance to inspiration. But - is it? Or can we now find inspiration in newer places?
To end, here are some simple ways anyone can find inspiration at home: ❏ ❏
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Take time on yourself: away from distractions, we may focus on ourselves and what evokes our motivation. Develop your own brand: Many often underestimate the importance of their brand - create your Pinterest boards, find a scent that fits you, find your aesthetic(s) and evolve your identity. Take the time to observe the small, simple and unknown domains: you may be surprised to find beauty and depth in unexpected places, from the orange carpels to the greek mythology that inspired Jess Johnson and Phil Knight to call a sports brand Nike. The Internet: we all are constantly gaining ideas from the hours we spend on TikTok each day and we can keep doing this while also scouting other platforms such as blogs and websites. Explore new things: whether that be creating a new playlist in an unknown genre, wearing a statement piece you never imagined yourself in or learning a language, you might find yourself developing a new interest.
@duazaidi3
Brand Launch By Clarissa Makonnen Haile Selassie Hi my name is Clarissa, but I go by Clari, and I would love to share my story with you. As a little girl I always loved fashion and loved watching how older girls would dress and match jewelry with clothes and accessories. I always wished that I could be older so that I could dress myself and express who I was through clothing, makeup or even jewelry. A couple years ago, I started to dress more for myself instead of following fashion trends. I loved matching colors with earrings or beautiful necklaces. With the right accessories I felt unstoppable and my soul really felt free and wild, and I remember thinking it was crazy how clothes and earrings or a necklace can make you feel that much more confident.
Milan based brand
During quarantine, with endless time to think, I realized that with persistence I could start my own jewelry line, and maybe one day, a store. I remember thinking to myself that I was crazy- who would ever want to buy earrings from an eighteen-year-old old who just started university? At first, I dropped my idea and moved on, but after two months of university, I really got into the whole process. At first, it was really hard and discouraging. No one was really there to help me figure it all out and there wasn't a booklet with instructions on how to start your own business and where to find the money to do so.
I researched and realized it was not actually impossible, but it was probably my first big responsibility since I had to be professionally organized and work with clients. After months of preparing and putting all my plans to fruition, I can finally present to you my new jewellery brand. I really wanted to reach different ages, so I ordered custom-made pieces which would reach ages from thirteen to twenty-five/thirty. I plan on expanding more, and to one day even acquire the technical skill set of how to make jewelry.
Shipping all over EU & US
I remember thinking to myself that I needed to be quick and find the best bijoux jewellery distributor in Rome or in my region here in Italy. I saw some of the craziest prices for very small quantities of jewellery. After some more searching, I found this really good wholesale shop not far from my neighborhood. I found so many items that represented me and I was amazed at how genuine the shop owner was. She was really helpful and realized I was new to this whole department and did not try to take advantage of that. She actually gave me many tips which allowed me to gain a little more courage. To this day I still get most of my designs from her, and supplement her designs with other manufacturers I have found. I am also so grateful for my family which have been extremely supportive towards this whole process.
‘We are all wild souls and it is time to free them.’
@clarihailee
In the future, I hope I can make this my full time job and devote all my time to my brand as it is a dream of mine to be an independent woman with a career that I love. This jewelry line has always been a dream of mine and there are so many steps to fulfilling it, but I will do whatever it takes.
I want to inspire girls and women to feel more confident, powerful and unique through jewelry. My dream would be to make special collections where I can meet every client’s taste and preferences so I can reach every age group and include every unique woman. For now, I have been doing everything through social media which I will continue to do, but, my dream is to open some pop up shops all around the world and create my own site where everyone can order online and have it delivered home. It makes me happy knowing that I can help women or girls feel more confident with who they are and their individual beauty.
All Silver 925
DM me for prices & info CONTACT @wildsoul_bijoux clari.makonnenhs@gmail.com
POKER CAPSULE COLLECTION By Melek Bayram
This capsule collection was designed by Modo’s Head of Design, Melek Bayram. The video showcases the collection in a storyteller format that presents viewers to the gambling world and introduces the different personalities and insider terms.
A capsule collection that consists of characteristic street-style pieces that are inspired by the gambling culture.
"BAD BEAT STORY" UNISEX SWEATSHIRT As clearly depicted in a print form at the back of the sweatshirt, ‘Bad Beat’ story is a tale of woe about a poker hand in which a player lost when he was at one point a statistical favourite to win. Insider term for an unexpected last-minute loser.
"BLUFFER" UNISEX SWEATSHIRT Spades poker symbol intertwined with a snake figure demonstrating the act of deception.
"GAMBLING LOSER WINS IN LOVE" UNISEX SWEATSHIRT Has a cultural touch with a prevalent Turkish slang. Turks use the "gambling loser wins in love" slang very often when gambling and other game/ tournament types. They use it as a way of consoling the loser. In other words, you'll have better luck in your love life.
SYMBOL CROP TOPS Has two colour options and a poker symbol print detail on the back. Handcrafted chain details add a bold touch to the designs.
Even though these labels are named after the poker player's performance, they have a strong symbolic meaning that goes beyond the poker table. The collection and video document the characters we come across, sometimes outside and sometimes inside us in symbolic ways.
Creative Direction, Design & Styling: Melek Belkıs Bayram Photography & Videography & Edit: Okan Sumer Styling Assistant: Melissa İlona Biber Models: Kaan Yuce, Can Tufekci, Benhur Isıksal, Isıl Arbak, Melissa İlona Biber Music production: Bora Avci
Urbanisation and fast-fashion: Urbanisation originates from the first industrial revolution - just like the steam engine and the spinning jenny, the mother of accelerated and increased textile production, the grandmother of fast-fashion. Ever since then, cities have been establishing worldwide consumption trends, becoming the nest of the mega trend of the last century - fast-fashion. Introduction to fast-fashion: Fast-fashion originated in the 1990s and has only been gaining in size ever since. Increased manufacturing speed - and when I say increased, I mean that it only takes 7 days for online retailers such as Boohoo to manufacture clothes, from the very idea, to your cart- in grand quantities. This allows retailers to introduce more clothes in a shorter time.
Remember how there used to be only four seasons in fashion, aligning with the actual weather? Well, it’s no longer the case. Welcome to the world of 52 seasons, for every week of the year, where your neon yellow dress with puffed sleeves can go out of style before you even have a chance to wear it. The super-speed of production combined with low quality (if you ever had a 100% acrylic sweater, you will get this) and low price is what made the brands such as Zara or H&M the giants that they are today - with hundreds of stores across the world, they gained yet another advantage - they are painfully accessible, both in real life and online.
@igafrac
Democratization and disposability: All of these factors made fast fashion democratic, enabling people to express themselves with fashion, regardless of their income or social status. However, the same factors contributed to the disposability of fast fashion - with cheap quality, trends and seasons changing faster than Carrie Bradshaw’s boyfriends, clothing has now very time-limited use. And despite my objections that it’s a madly consumptionist concept to express oneself with outfits instead of actions, words or interests, the former is considered good, and the latter bad (no objections here, nobody likes a lot of trash). Stats, stats, stats: The economics of fast fashion is not to be omitted either - it definitely keeps up the pace. The global size of the fast fashion industry was estimated at $35.8 billion in 2019. It has been growing for many years, only taking a dip now, due to the coronavirus crisis, falling down by more than 12%, down to $31.4 billion at the end of 2020. Apparently, there are no accurate records of how many items of clothing are produced annually, however it is estimated that the number circulates around over 100 billion of which 20% will never be sold and end up either dumped or burnt. Every piece of those purchased 80 billion will be worn averagely 7 times before being thrown away.
To put it bluntly: we produce (approximately twice as much as we did 15 years ago) and buy more clothes (60% more, to be precise, comparing 2014 to 2000) but we use them far less. That sounds bad already - but it’s about to get worse: with the world GDP expected to increase 4 times by 2050, the demand for clothing will follow, and nothing good can come out of it. Economics: Let’s take a look at the underlying factor, the very basis of the issue: the linear economy mode. Widely used in modern day fashion, it truly cements the concept of disposability, and consists of three stages: With the rising popularity of sustainability, more and more people advocate for the circular economy model, which is more complicated, and, let’s face it, less profitable. It looks really easy on paper. In reality, it’s everything but easy. Despite having only one good purpose - saving the environment - the obstacles are plenty.
Peters, 2018
Firstly, an almost complete lack of incentives - why would companies give up on a business model that creates fantastic profits? Without a nudge from governments, they have no reasons to. In the current system, it’s the consumers who are responsible for the disposal of the clothes they no longer want - why should the producer care about how much disposable garments they (over)produce, as long as it makes them money? Besides, both recycling and upcycling are costly, energy consuming and have vast limitations - mixed fabrics cannot be recycled, while recycled cotton is of lower quality.
Thirdly, companies would never willingly say goodbye to ever growing profits. In a world where we measure success in growth rates, it seems nearly impossible to accept only a high and stable level of output, return, stock value… you name it. Growth would most likely only occur in the still developing economies - not the ones who have the power to change today’s model.
Secondly, this would be a very (immediately) costly shift. Initially, The supply shock will limit production and destabilise economies of the countries that base their GDP on the textile production. Many jobs will disappear, not only in the Asian sweatshops, but also in the service sectors of the wealthy countries. In the long run, this might be offset by introducing decent minimum wages in the remainder of the clothing factories (highly unrealistic), boosting the previously shattered economies and improving demand. If the recycling process is also outsourced, the job creation will happen again, however at a lower rate than before the transformation, as recycling isn’t as labour intensive as manufacturing garments. Additionally, thrift stores require labour on a much smaller scale than high street retailers.
Future: Abandoning fast-fashion all at once is impossible. Abandoning fast-fashion step by step is possible. Yet possibility alone isn’t enough. Governments need to be determined, conscious and responsible to adopt the necessary measures in order to reduce overproduction and overconsumption of clothes without unemployment and costs of living skyrocketing to the next galaxy. Placing the burden of sustainable consumption on individuals is just as classist (buying clothes in thrift stores is cool when it is not the only option you can afford as it is unrealistic) - fastfashion faces barely any competition in the affordable clothing market. However, there are a few things we can do - spread awareness, buy less or shop second hand and normalise wearing the same outfits over again. But most importantly, pressure (coal to diamonds level of pressure) our elected representatives into doing everything in their power to save the planet.
We all saw it everywhere in stories shared across the internet. People getting creative during lockdown; discovering new hobbies, creating businesses and turning a difficult time into something they could look back on with pride.
CREATIVITY IN
LOCKDOWN How do the members of MODO find inspiration for creative projects during lockdown? by Erin Croasdale @erincroasdale
As we came out of lockdown last November, I sat down with some fellow members of MODO society and discussed how they approached creativity during lockdown. We addressed how to find inspiration, and why it is so important to keep creative. In many ways, our conversation surprised me. The very concept of lockdown - staying at home, isolated from the rest of the world - is not exactly ideal for productivity. Without visiting museums, galleries, shops or friends that naturally provide a source of inspiration, I expected our conversation to reflect an overall struggle to be creative. But, I had forgotten one key element of lockdown - the blessing of time. In our often overwhelmingly busy lives, prioritisation is key. By no fault of our own, the hobbies we love the most, the things that make up who we are, get pushed to the bottom of the list. Finishing artwork gets discarded over an essay deadline and designing clothes put aside over refining a CV.
Lockdown provided the perfect opportunity to rediscover our favourite hobbies, or discover new ones too. The members of MODO described this opportunity as a chance to create something purely for yourself, without the stress of impressing others. This was a chance to have a go at something different, perhaps pick up a paintbrush or an embroidery needle, and not care if it doesn’t go according to plan first time, because there’s time to try again. This time to experiment was crucial. Instead of fitting creativity around the rest of our busy lives, we could dedicate ourselves to it, learning more about ourselves in the process. The abundance of time during lockdown also provided a chance to take a break. The incredible stories across social media showcasing creative projects during lockdown did provide inspiration, but it also increased the pressure to be productive. Lockdown gave time we never had before, and hopefully time we’ll never have again; I can’t be the only one who was thinking that I had to put it to good use. I had to produce something good to look back on, I had to get creative. It turns out, having too much time can actually be demotivating, and leads us to try and force something we are not in the mood for. But our members found ways around this. Allowing themselves a break, doing something simple like going for a walk, listening to music or watching a film put things into perspective. All we need sometimes is a reset to feel more creatively inspired.
One important tip shared was to separate your creative workspace from your relaxing space. Sometimes, because creative outlets are hobbies, we forget that they need to have a separate space just like studying and working does, in order to avoid creative burnout. As we reflected, we all agreed that in many ways, lockdown was a ‘blessing in disguise’. It was an opportunity to pick back up the hobbies we no longer make time for and learn more about ourselves. This approach changed my mindset about lockdown, something I had previously thought of as restrictive and mundane. As we find ourselves, unfortunately, in another lockdown, we should remember how this time can be the perfect chance to experiment with a new creative form. Even when this is all a distant memory and normality is restored, the creative lessons we learnt during lockdown should be carried forward. Being creative during lockdown has important benefits mentally, allowing us a chance to step away from the difficult news stories and instead focus on ourselves and our own well-being. Let’s take the memory from lockdown about how creative we allowed ourselves to become, and continue to make time for these outlets that enrich our lives and allow us to express our full potential.
Writer: @oliviaoollii Photographer: @adam_pietraszewski
Since flying back home in March last year at the very beginning of the pandemic, everything about life in London is centred around the screens on our different electronic devices, from connecting with friends to pre-recorded lectures. As days passed by, what we all have been waiting for, normal life going back on track, did not reveal itself. We waited in front of our windows in rooms that none of us expected to stay in until the summer break started and all the events we reacted ‘going’ to on Facebook changed their status to a permanent ‘returning soon’. While I’d like to apologise for this seemingly dispirited tone, I assure you that this article is intended to share an experience of enthusiasm, communication, and innovation of fashion in the time of ‘Urban Decay’.
The idea started around April 2020 when most of the fashion models had to take photos virtually as a result of contact restriction and the promotion for people to #StayHome. Modo Society’s idea of creating a virtual photoshoot was inspired by the trend in the professional fashion industry. These virtual photoshoots gathered UCL students with an interest in fashion to participate in this ‘totally odd’ format of the traditional photoshoot which enhanced connections and communication, a completely new way of channelling fashion enthusiasm via technology.
As the Head of Models of Modo Fashion society this year, I tried this out with our amazing photographer Adam in the opening event of MODO in October to introduce our virtual photoshoot sessions. ‘I would always prefer Facetime call than other apps’ said Adam, ‘as it allows you to take pictures from your camera without letting picture quality be damaged by poor connection and other technical issues’. The experience feels like someone else is taking a selfie of you as you have to hold the camera on your own and sometimes find the angles shooting yourself.
‘Bring a stack of books in different sizes and a mug to make sure your camera is still when you need to incorporate hands-free movements’. This is the second tip Adam provided for an improvised virtual photoshoot for someone who wants to try this out. Our shoot lasted for about three hours. My idea was to create a scene of me wandering around while confused with what is happening outside the window and also looking out of it with the sense of loss and expectation just under the first spread of the morning light. As the shoot was coming to an end, our glimmering natural light slowly lost its softness and become a bright golden, shining on this piece of ‘Urban Decay’ just as what might be expected from your window view, while one is having a glance over this prose.
What What is is the the future future for for urban urban areas? areas? An interview with Urban Environment Expert & UCL Alumni Jonathan Simpson By Sabrina Ciauri
What are the main impacts of COVID-19 on our global cities?
Impacts on Global Cities: ❏ Shortfalls in revenues for public transport, which means investment decisions may be put on hold. ❏ If things do get back to normal, they might not recover. ❏ Co-worker office spaces will lose popularity as many smaller businesses / self employed people work from home.
Mark Lennihan, 2020
How have and will retail businesses adapt and change because of the pandemic? Retail businesses: ❏ In London we have already seen smaller supermarket chains tie up with delivery services like deliveroo - this is far easier for consumers than waiting for a delivery slot with an established online service like Tesco or Ocado. This trend could continue to retailers selling different products like the fashion industry.
What is the future of our urban environments? The future: ❏ Cities won't die; they will always be financial centres and cultural hubs, what may happen is that more people have a hybrid part-commute part working from home lifestyle which could mean a movement out of cities especially for those with families . This has been seen in London, but was stimulated by the government cutting stamp duty tax in order to keep the housing market steady - a huge expense for those purchasing homes. ❏ Cities in emerging markets may see a fresh wave of outsourced jobs, as companies operating in developed economies cut more expensive such as "back office" jobs and look for cheaper remote workers abroad. ❏ Once vaccines are rolled out the cultural life of cities will return and creativity will bloom!