Rouge Magazine AW22

ROUGE MAGAZINE VOL. IV, ISSUE I A/W 2022

AN ERA OF

Innocence

RO UG E

Run with Rouge! @rouge.mag

editors.rouge@gmail.com

www.rougemag.squarespace.com

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Sta Fashion

Beauty Katie Slacanin Mary Boyett Nallee Mobley

Addison Rhodes Allison Kramer Amelia Hay Amelia Pappas Analiese Herrin Andrea Koch Chloe Lahr Claire Friers Ellie Archer Hope Thornton Julia Harbison Kanan Parikh Kate Walsh Katie Slacanin Lauren Roush Madeline Bates Mary Boyett Mya Greene Price Andersen Rachael Lalor Rebekah Paulson Renata Navarro Riley O'Regan Sloane Rice Sophie Baker Yamileth Hernandez

Communications

Alexa Krasner Allison Kramer Chloe Lahr Clara Crabb Hope Thornton Jin Lee Kanan Parikh Keertana Konduru Kennadi Morton Maria Van Livingston Marisa Gu Ny'Asia Keys Price Andersen Rebekah Paulson Riley O'Regan Ritika Sharma Sophia Doyle Sophie Baker Sydney Fogarty Thaomy Pham

Photography Amal Supariwala Arantxa Villa Emily Cummings Jack Casey Jada Creecy Sheena Deepak

Alexa Krasner Amal Supariwala Andrea Koch Arantxa Villa Claire Friers Daniela Rodriguez Ellie Archer Evelyn Krakovski Hannah King Jordan Long Katherine Villaluz Liliana Guilfoyle Mariana Mejia Marisa Gu Mark Davis Miranda Macha Renata Navarro Sierra Bolin Yamileth Hernandez

Digital Design Ny'Asia Keys Serina Bergeron Sophie Difusco

Graphic Design Amelia Hay Amelia Pappas CeCe Nguyen Cody Murray Jackson S. Dallas Maddy Lyons Rachael Lalor

Writing

Evelyn Krakovski Hannah King Hannah Rieder Helen Sorme Hannah Weeks Jordan Long Lily Baldwin Mya Greene Petra Culbertson Trinity Gates

Blog

Anders Law Catherine Kitchens Hannah Weeks Lily Baldwin Mariana Mejia Mia Romans Petra Culbertson Taniya Pierce Thaomy Pham Trinity Gates

aff Editor in Chief

Creative Director

Director of Communications

Director of Fashion

Womenswear Editor Menswear Editor

Director of Beauty

Beauty Editor

Director of Writing

Director of Visual Content

Director of Graphic Design

Director of Digital Design Director of Blog

Director of Social Media Director of Finance

Cece Grosz

Margaux Binder Smriti Tayal

Shira Ben-Simon

Scotland Geurink Jey Sirmans

Annabelle Marshall Julia O’Neal

Alexis Derickson

Savannah Hernandez Keren Sahar

Ned Feininger

Sophie McLeod Sydney Bolin

Monse Morgan

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E

Letter from the Editor

By Cece Grosz

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T

S !

in the Woodlands 12 Wonder Chapter I

T N O C 20

Adolescent Flair in HighFashion Menswear

By Trinity Gates

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Pop Culture and Pigtails: The Sexualization of Children’s Fashion

By Jordan Long

At the Corner of Ignorance and Bliss Chapter II

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Decades in the Making: Fashion’s Revival of Nuanced Nostalgia

By Hannah Weeks

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Checkmate, I win!

Chapter III

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Film to Fashion: The ‘Wes Anderson Effect’ on Modern Expression

By Lily Baldwin

Coming of Age: The Evolution of My Personal Style

By Petra Culbertson

On a School Night?

Chapter IV

‘Graying Out’: It’s Time To Say Goodbye To Boring

By Evelyn Krakovski

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Epilogue: Special Thanks

LETTER FROM

The Editor 10

The sentiment of having grown up too quickly is commonly expressed across our generation.

As the first cohort to have never experienced life without the Internet, we have grown accustomed to a flurrying stream of breaking news and general media stimulation that can foster a sense of emotional numbness. Many of us seem to suddenly find ourselves wistful for the carefree memories of childhood. Within the Autumn/ Winter issue of Rouge Magazine, our staff worked to provide closure for a sense of rushed adolescence through encapsulating the various stages of evolving from child to adult and emphasizing the pivotal role that fashion plays in this personal development. Clothing was an essential element in exploring our identity as children, from princess gowns to print-mixing, but the whimsical charm of youth doesn’t have to be exiled to the past. Featured written and visual concepts explore the burgeoning revival of nostalgic innocence in the fashion industry in juxtaposition with the forces opposing it.

This issue’s theme, “An Era of Innocence,” takes the reader through memories of youthful curiosity, ingenuous playfulness, flourishing introspection and lively defiance, all while reinvigorating the classic fashions of our early years. The essence of childlike wonder is present in all four ‘chapters’ of the story that we aim to weave over the course of the coming pages, imploring the reader to reminisce on their own coming-of-age tale. My hope is that you’re able to derive inspiration from a vibrant take on the style – intertwined with the emotion – of a simpler time. No matter what age you are, the lighthearted optimism of youth is always in fashion.

Devotedly,

Cece Grosz | Editor in Chief

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Wonder in the Woodlands

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Photography by Jack Casey, Jada Creecy, and Sheena Deepak

Styling from the closets of the Rouge Magazine Staff and Athens boutiques 13

Chapter I. The early days of childhood are fraught with adventure, found even in the most common places. Young and hopeful, magic seems to surround us everywhere we go. The trees above us dance like wizards casting spells in the wind, and we’re entranced by the little details on our jackets that make them “special.” The ears on our knit hats instantly transform us into rabbits and bears ready to stomp around the forest and find hidden treasures. We create potions out of grass and rocks that can summon elves out from the bushes and we flaunt our superpowers every time we courageously leap from a mossy stump.

By Lily Baldwin

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As kiddos, we were drawn to the brightest of colors and any pair of overalls in sight.

Our fashion was an expression of ourselves, yet still adapted to the adventures we set out on. Utility, for us, meant being able to bravely venture across the muddy creek while keeping the hems of our flowing skirts out of the water. Every stick was a sword, every flower a work of art, and every person we met a potential new friend. The littlest look from across the classroom could mean marriage by lunch. We were still blithely unaware that we wouldn’t always have the kind of whole-hearted love that makes you want to carve your initials in a heart on a bench.

Growing up can feel like our enchantment is fading as time passes. But each chapter of our lives that follows childhood is simply a flower branch blossoming from our roots: where we learned to share, be kind and have courage. That child will always remain within, sometimes seen in the wide-eyed excitement for a brand new day, and sometimes in a fitful cry of frustration. Rather than scolding that inner part of ourselves, let’s explore embracing it unconditionally and expressing it freely.

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Model: Zoey Stephens

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There’s no better way to connect with your kid self than by channeling that same carefree spirit in the way you dress. Holding your best friend’s hand as you roll down a grassy hillside is just as magical now as it was when we were children. Take time to play and find fascination everywhere you look, just as a kid finds wonderment in wearing fairy wings to school on a Tuesday in November. Losing that feeling as years pass by feels inevitable, but through fashion, we can revive that carefree sense of wonder in every one of us.

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Models: Nikoli Smith and Tejsh Desai

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Adolescent Flair in High-Fashion Menswear

By Trinity Gates In the realm of childhood nostalgia, trends emulate a cyclical pattern; however, reminders of childhood often appear less evident in menswear. Although less perceptible at face value, this recycling of trends reveals itself in the leading collections shaping the runway. A return to adolescence can be seen in recent fashion weeks through familiar iconography, materials, colors and feminine flair in the design and construction of highfashion menswear pieces.

Burberry made their mark during their Spring/Summer 2023 show with playful jersey fabrics and references to the childhood-like attachment to gender-typical animals. The oversized polo jersey is reminiscent of little league sports and spring afternoons on grassy patches with your friends. Collared jerseys have made a comeback over the past year and not exclusively in mainstream fashion. The nostalgia

elicited is evocative of the spirited love of sports teams, like Manchester United and the England national football team, who have both adopted the collared kits for their current seasons (Criales-Unzueta, 2019).

Styles of bermuda length shorts and skirts in men’s fashion are prominent trends successfully recreating the feelings of comfort and familiarity of growing up in the ‘90s and 2000s.

Menswear collections elevate these looks by playing with pastels and brighter colors along with different fabric washes, like acid wash.

Collections by Commission, Stefan Cooke and Jil Sander utilize textiles that fall under that same level of childhood familiarity and simplicity.

Denim and cotton are reemerging as timeless staples while more sheer textiles like chiffon and nylon bring a flair reminiscent of recent decades (Fernández-Carnicero, 2019).

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Palm Angels is a brand embodiment of this level of childhood familiarity and nostalgia, utilizing pastels, shark imagery, jersey textiles, terry cloth fabric and elevated jelly shoes. While Palm Angels centered this oversized, bright collection on Miami, their inspiration from archived looks and trends is evident (Leitch, 2022).

of gingham, a fabric commonly used in picnic cloths and summertime seating (Barry, 2022).

Thom Brown and Kenzo were eccentric, as to be expected, in contrast with other collections, showcasing a more polarized reality of childhood imagery seen in menswear today. Their collection capitalizes on tweed, bermuda lengths and grown-up school uniforms. Meanwhile, JW Anderson also showed out for the Spring 2023 Menswear line, even including devices like skateboards and BMX handlebars as articles of clothing to advance his narrative of testing our perception of modern fashion. A contrasting signature cherry red and stark blue color palette recreated hues many kids could place within their childhood.

Other collections like Stefan Cooke used maximalist and fantasy approaches, capitalizing on clashing textures and bold colors with whimsical and edgy referencing to video games and storybook imagery.

Cooke specifically drew from ‘90s Tokyo, an established hub of pop culture and fashion over the years.

Taking the vintage track pant for a new, bright spin alongside various textures like mesh, Lycra, denim and fur, Cooke incorporates ‘80s silhouettes with general fashion trends, pointing to bigger silhouettes Recognizing the place that with fitted pieces as the new look childhood nostalgia and imagery (Leitch, 2022). hold in fashion and the creation of art, these nostalgic trends and Prada’s unique menswear collections patterns are continuously drawn on emulated many traditional by consumers for day-to-day wear. womenswear trends, such as Childhood styles are brought to life gingham, but intertwined with in the light of menswear, as we see grunge and elevated silhouettes. more variation in color, patterns and Principally, they referenced the textiles coupled with traditionally innocence and simplicity of one’s feminine aspects. childhood home through their use

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POP CULTURE AND PIGTAILS

Today’s generation of young girls is under attack with the over sexualization of their clothing.

Studies in recent years show that 30% of young girls’ clothing currently on the market is sexualized in some way, shape or form (Springer Science+Business Media, 2022).

Over time, youthfulness has diminished in the children’s fashion industry. The notion of “innocence” is being turned into an overly sexualized version of what it once was. Clothing and accessories formerly considered childlike, such as ponytails, polka dots and even a simple school uniform, are being transformed into sexualized items, largely due to the male gaze, society and pop culture.

Where It All Started The sexualization of young girls stems from the objectification theory. Developed in 1977 by psychology professors Barbara Fredrickson and Tomi-Ann Roberts at the University of Michigan, the objectification theory dives into how society today plays a crucial role in why girls are sexualized, in turn steering girls into a cruel cycle of objectifying themselves (Goodin, Van Denburg, Murnen & Smolak, 2011).

When young girls are constantly exposed to objectifying media, it leads to self-objectification (Goodin, Van Denburg, Murnen & Smolak, 2011). Sexualization from such a young age can lead 27

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girls to believe their bodies are meant to be on display, and that it is normal to be judged on their physical attractiveness.

As a result, young girls inadvertently wear oversexualized clothing because they believe that is the norm, without a true understanding of the underlying significations (Lester, 2011). Retail stores further play into the objectification theory with the creation of sexualized clothing marketed intentionally towards young girls.

A Key Player Almost a third of modern girls’ clothing for sale at 15 major retailers have sexualizing characteristics, “a trend that psychologists say can encourage girls to view themselves as sex objects at an early age,” (Pappas, 2011). Marketing campaigns prioritize accentuating body parts paired with sexually suggestive writing.

Abercrombie Kids is one of the bigger offenders when it comes to sexualizing young girl’s clothing.

In recent years, the company was called out for selling thong underwear in children’s sizes with “wink wink” and “eye candy” printed across the front (Goodin, Van Denburg, Murnen & Smolak, 2011). The brand attempted to write off the garments, explaining

that they were created with a lighthearted intent.

In 2007, Walmart was caught in a bind when parents became outraged at the company for selling underwear featuring the phrase “who needs credit cards” printed across the front and “when you’ve got Santa” printed across the back (Goodin, Van Denburg, Murnen & Smolak, 2011). Walmart later removed the product from its shelves.

Children’s clothing is becoming diminishingly modest and increasingly sexualized as the years progress. Polka dot and tie-dye patterns are incorporated into traditionally mature clothing to make the products appear fit for a child.

But, the problem remains that children are being led to believe that this oversexualized fashion is normal to wear, bringing more business to companies that continue to add fuel to the fire.

Don’t Forgot Culture

Media

&

Pop

Children consume hours of media a day, during which they are exposed to many different forms of sexualized content featuring kids of the same age, ranging from pop culture and television to movies, music videos and lyrics.

Studies in the U.S. reveal that upwards of 75% of television 29

programming contains sexual content (Lamb & Koven, 2019).

All of these programs can be viewed at any time by an innocent child, which can in turn influence them into objectifying themselves.

A popular children’s television producer, Dan Schneider, is well known for over-sexualizing his shows, allegedly “insist[ing] on hyper-sexualized content” (Saad, 2022). Close-up shots of the young cast’s feet, liquid popping on a young actress’ face and food being rubbed on another young actress’ bare stomach were a few notable instances among many produced by Schneider.

Oversexualization doesn’t stop at television – it is also significantly visible in movies and film. A recent study found that “84.6% of films, including those intended for children, contained at least one segment of sexual content” (Lamb & Koven, 2019). Shirley Temple, a famous starlet in the 1930s, played her first role as an exotic dancer in a bar for soldiers in the film titled “War Babies.”

Temple was three years old.

Music videos and lyrics similarly contribute to the objectification theory, as music lyrics “have been found to allude to sexual intercourse in 37% of popular songs” (Lamb & Koven, 2019).

One of the most popular artists of the early 2000s, Brittany Spears, wore a famous example of an 30

overly sexualized childlike outfit in her music video, “…Baby One More Time” – the school girl outfit. Seen sporting a short skirt, an almost completely unbuttoned cropped white top and a lace bra underneath, Spears’ hair is pulled back in braids secured by two pink ribbons. Spears was sixteen years old at the time of the video’s release.

When looking at children’s fashion and today’s pop culture, the truth of the objectification theory is becoming increasingly obvious.

Pigtails are sexualized to the point that women in the service industry are beginning to realize they receive more tips when the hairstyle is worn. The trending topic blew up on TikTok after one user, Grace Velez, discussed how she received almost double her

normal tips after wearing pigtails during a shift. The video received 1.4 million views, initiating a major discussion on the issue with many users affirming the video drew their attention to the “fact that young women are definitely sexualized” (Chery, 2022).

Desirability is unfortunately a factor playing into how women make money on the daily. The conversation that originally began on TikTok has further sparked criticism over how women in the service industry are tipped based on their appearance and widely harassed in hospitality roles.

(Chery, 2022) When exposed to this range of media portrayals, naive children are led to believe that the oversexualization of fellow kids their age is acceptable and even expected. They may feel that in order to fit in and feel cool, they, too, need to oversexualize themselves in the way they dress and act.

Future Damages When looking at children’s fashion and today’s pop culture, the truth of the objectification theory is becoming increasingly obvious. This repeated exposure to sexual content makes children believe that they need to selfobjectify themselves to meet the “standards of attractiveness”

(Goodin, Van Denburg, Murnen & Smolak, 2011).

By internalizing these thoughts in children early-on in their lives, media and marketing representation can lead to kids’ warped views of their own bodies, self esteem and even affect their long-term personal development.

Research has largely reported adverse influences from adolescents’ social media use, contributing to mental health difficulties like increased depression, anxiety and self-harm behaviors, along with decreased socio-emotional wellbeing, low self-esteem and negative body image, (Papageorgiou, Fisher & Cross, 2022).

The objectification theory is a very real issue, and if young girls aren’t made aware of social media’s effects at a young age, innocence in the youth of the world will be increasingly diminished. While over sexualization is unlikely to stop altogether, “providing education about social media and its influence on body image and strategies [can be used to] prevent and counteract negative body image to support girls” (Papageorgiou, Fisher & Cross, 2022). Expanding education on social media’s effects is the first step in the right direction towards change. Protect the youth of future generations. Change the narrative on children’s fashion.

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Models: Kennadi Thomas and Zoey Stephens

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At the Corner of

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Styled from the closets of the Rouge Magazine Staff and Athens boutiques

Photography by Emily Cummings and Jack Casey 35

Chapter II. It is these moments of frivolous frolic that guide us to abandon our sense of time. Our mind giddy at the thought of freshly paved streets graced by the patter of feet challenged by hopscotch, or the restless chains of freshly gifted bicycles rushing the sidewalk.

That fondly remembered window of time known as “after-school” opened doors to fleeting moments free from the growing responsibilities that filled school halls and dinner conversations with our parents, inching us closer to adulthood.

But what exactly will time tell us? Will time tell us we’re getting stronger than our bubble braids portray? Will it tell us to lengthen our skirts and darken our color palette?

Will the hues that mark our identity fade along with our innocence? As we wander the neighborhood looking for our next destination of playful discoveries, we carefully tiptoe on the trail of tomorrow.

By Mya Greene

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Tomorrow morning when we catch the bus, tomorrow evening when we meet by the old oak tree, tomorrow night when we fight our sleep. Tomorrow was certain that our innocence would hold true to our pink florals and pastel tops. It was certain that vibrant laughter would ring as we climbed the tree that seemed to be aging much slower than us.

Fashion is our chalk-drawn treasure map to reminding ourselves of the virtues embedded within the vivid pigments of our childhood, where we stood on the cusp of evolving youth. Dare we discover those vivid pigments again and flaunt the stages of our youth where our wandering minds gradually began to clash with our rationality, just as our thrifted chucks, muddy with puddle water, clashed with our striped, rainbow vests. Through elements of fashion we can again drift through these moments of pure and unabashed youth.

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Model: Ryleigh Hollaway 39

DECADES IN THE MAKING: THE FASHION REVIVAL OF

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Surprise! The year is 2022, and the fashion world is entering a time where seemingly anything goes, as personal style out-dresses uniformity. Whether walking down a bustling street in New York or boarding a plane to Paris, no one can pinpoint a singular set of trends representative of this decade.

Amidst the rise of social media, fashion became a unique way to connect to others. With the capability to closely follow and share styles that speak to our individual aesthetics and personal brands, Millennials and Generation Z can join together across time zones and continents to collaborate on the creation of the next fashion visions. What has remained constant despite everything is the reflection of broader societal moods through different style groups and aesthetics. For many young adults seeking to embody a more expressive existence, that means revisiting the nostalgic trends of the past as a medium of escape from reality.

as they “are referencing their childhoods because they are getting older — it’s like a longing for the past. It definitely brings comfort and a sense of community when [they] can recognize objects [they] all had when [they] were growing up” (Sidell, 2019).

The past two years affected everyone differently, but for many people it was a time of reassessing priorities and reimagining life paths. This period of pause gave people the space to explore who they really are. It simultaneously prompted an overarching sense of nostalgia for what was or what could have been in past and present times, and this nostalgia continues to resonate with many.

Psychotherapist Dafna Kronental recognizes that “in the current context, connecting to our inner child through ‘kidcore’ fashion may inspire a sense of comfort and security during an otherwise challenging time. Embodying this or other parts of self that feel more innocent, creative and alive, may offer an opportunity to shift the ‘stuckness’ or anxieties felt in everyday life to help us cope in a climate of change and unpredictability.” (Maher, 2022).

The stiff, neutral, minimalist styles of the past feel undesirable and cold, perhaps because they represent a life many do not want to return to.

E D C N G L I A A N O T S Kidcore surfaced in recent months alongside fellow niche trends futuristic punk, the Y2K revival and cottagecore.

Characterized by bright color palettes, combinations of bold prints, a lack of structure and soft silhouettes, kidcore emulates the carefree and imaginative nature of childrens’ relationship with clothing.

The distinctive trend features aspects of children and young adult fashion from the 1980s to early 2000s. Widely dominated

by Millennials, kidcore remains prominent among this generation

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Instead, through styles like kidcore, decades of nostalgic fashion rise from the ashes. The resurgence of 1980s puff sleeves, ruffles on blouses and dresses, baggy overalls and colorful collared jumpsuits are paired tastefully with cowboy boots and a tote bag. Mary Janes, likely worn in a 1990s or early 2000s family photo, are making a comeback alongside their zanier sister, the jelly sandal. Tennis skirts and babydoll dresses reminiscent of school uniforms are now worn to parties and events in contrast to the body hugging silhouettes of years past.

a way for the trend to spread both visually and physically through users’ feeds and the selling of pieces consistent with kidcore styles.

Lisa Says Gah, a site of curated designer pieces put together by Lisa Buhler, features fun graphic knitwear, funky ceramics and whimsical trousers. The brand is worn by mainstream influencers ranging from cultural icon Emma Chamberlain to fashion influencer Alyssa Coscarelli.

Meanwhile, the brand Lucy and Yak embodies kidcore with bold, geometric prints gracing a variety of silhouettes, from jumpsuits to babydoll dresses.

Both established brands and designers on the rise are taking on the spirit of kidcore by providing

Kidcore made an entrance into high fashion with prominent features in Off-White’s Fall/ Winter Ready-to-Wear 2022 show entitled “Spaceship Earth: an ‘Imaginary Experience.’” In the collection, models showcased an eclectic mix of bright colors, cartoon graphics and atypical silhouettes, as one model even dares to wear a floor-length purple tulle skirt, bomber jacket and costume-like horns. High fashion takes kidcore to new levels in Off-White’s show, establishing the evocative style as a legit trend worthy of the runway.

“Characterized by bright color palettes, combinations of bold prints, a lack of structure and soft silhouettes, kidcore emulates the carefree and imaginative nature of childrens’ relationship with clothing.”

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R A C B

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Model: Phillip Breunig 43

Model: Sydney Bolin

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Although the times of generational fashion may be history with the rapid trend cycles of today, styles like kidcore reach back into the past and relive times when personal fashion was free from societal pressures and external influences, instead simply existing as a chance to play with eccentric colors and styles. Looking deeper, these trends establish an inside look into the generational feeling of nostalgia experienced

by Millennials and Gen-Zers who want to go against the grain of traditional expression and buttoned-up identity. We can all take a little bit of inspiration from kidcore. Life is short – reinvite that familiar childlike magic into your closet and dare to dress the way your younger self always dreamed of.

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CHECKMATE, I WIN!

photography by amal supariwala, emily cummings, jada creecy styled from the closets of the rouge magazine staff and athens boutiques

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Chapter III.

By Lily Baldwin No one prepares you for what it’s like to be 13 years old. For a lot of us, our preteen years shine a spotlight on how thrilling yet cruel the game of life can be. So, sheltered behind a “do not enter sign” and kicking our Doc Marten-adorned heels, we plugged in our headphones to drown out the world. Here in our houses, we found a little bit of comfort in isolation and dove deeper into our developing identities.

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The period between childhood and teendom is a time of discovering your core self, experimenting with expression, and battling plenty of internal conflict. Though we wanted to relate to the outcasts and wallflowers, we still had an overwhelming need for attention. We clung to our individuality, but also craved to be a part of the crowd. We wore the combat boots that made us feel like we could stomp out enemies, but still saved our babysitting money for that one Brandy Melville sweater that everyone wanted.

It was all very contradicting, and it taught us that confusion begets angst.

There’s something to be said for embracing the angst that comes with being a tween. It’s a skill that many will never home because it’s generally frowned-upon to show disquietude. Our generation tends to spend excessive amounts of energy trying to present an unrealistic, alwayshappy version of ourselves on social media.

There’s a reason adolescence is considered the “formative years” of our lives. That wannabe grunge, Tumblr-aesthetic era was incredibly revealing, both in terms of ourselves and the world around us. “Change is the only constant” may be an overused rule-of-thumb, but it continues to hold true. Just as your style evolves over time, you will also go through awkward phases throughout life. Nevertheless, home will always be there.

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Models: Arya Kokate, Delfina Mestroni, Luis Cordoba 51

Film to Fashion: The ‘Wes Anderson Effect’ on Modern Expression

By Lily Baldwin A part of what makes director Wes Anderson’s films so magnetic is the distinct identities of his characters. Each one, from the youngest boy scout in “Moonrise Kingdom” to the oldest patriarch in “The Royal Tenenbaums” has a defined semblance and set of characteristics that make them peculiarly relatable.

Anderson achieves this kind of cinematic impact through more than a script – every article of fashion used in his films reflects the history behind the characters he creates. Without fail, each persona honors their childhood with pockets of 52

their past slyly incorporated into their daily outfits.

Sentimentality is intrinsically sprinkled throughout every costume, drawing bits of each figure’s youth into their outward appearance. With his meticulous attention to detail and the thoughtful reflection of his characters, Anderson creates a sense of joviality through fashion for viewers.

From “Rushmore” nearly 25 years ago to his latest big screen endeavor, “The French Dispatch,” Anderson emphasizes this ideal of unapologetic individuality in all of his characters throughout

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his films. Revered for his eclectic and quirky film style, the director has a clear aesthetic. The soft pastels, symmetrical frames and color palettes ranging from monochromatic moments to bold and clashing hues come to mind when picturing his projects. The juxtaposition between each uniquely-clad character and the mundane settings curates Anderson’s hazy and hypnotic trademark productions.

Anderson’s aesthetic has been consistently whimsical from the start of his career, invoking a childlike feeling with his signature artistic style that transcends place, gender and time.

“Many of Anderson’s adult characters maintain this imaginatively playful fashion while some of his younger subjects instead turn their heads in the opposite direction, purposefully seeking out a mature look.”

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Anderson’s films have always featured what critics consider to be gaudy and outrageous costume designs.

The nature of his characters are clearly reflected in their clothing, and their dress is often the deepest insight we have into their personalities – this is what makes the fashion so transcendental. In “The Royal Tenenbaums,” Gwyneth Paltrow’s somber and voguish character Margot Tenenbaum wears the same iconic Chanel fur coat and red barrette in both youth and adulthood.

Her siblings similarly stay ferociously loyal to their style of dress from childhood on – her brother Richie continuously sports the same sweatband he’s donned for decades. Both characters are almost always dressed inappropriately for their setting, but you’d have no idea by the way they carry themselves like the same carefree kids they were in years prior. More than just outfit inspiration, Anderson’s characters represent a testament to the importance of connecting with the younger self

– preserving youth by reinventing childhood attire.

Ironically, many of Anderson’s adult characters maintain this imaginatively playful fashion while some of his younger subjects instead turn their heads in the opposite direction, purposefully seeking out a mature look.

Throughout “Moonrise Kingdom,” 12-year-old Suzy Bishop sports a pink and white mod-style dress with a risky hemline, always accompanied by her portable record player and kitten in tow. Her enticing black eye makeup enhances her silent but steadfast demeanor.

Despite being so young, Bishop fearlessly defies the conventionally ageappropriate 1960s attire – she obviously knows exactly how to express her identity from the beginning and rejects the expectations of the world around her. Bishop’s deliberate decision to dress older than she was acts as a mirror to what happens to many young adults today, submerged in a culture in which perceived maturity is the standard. She stands in opposition to the majority

of Anderson’s characters in terms of exhibiting her identity through her wardrobe. As the film is about two children looking to enter adulthood too fast, Anderson’s costume choices align with the concept he is aiming to convey – clothing can make you feel just as young or old as you desire to be.

“The retro tendencies of Anderson’s films continue to show themselves every day in the fashion industry, with new mod-revival pieces crossing the runway every season.”

All of Anderson’s characters manage to showcase fundamental aspects of themselves through their attire, but the general look remains cohesive. While trends shift and cycle constantly in response to changes in self-expression,

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the inhabitants of Wes Anderson’s cinematic universe remain dedicated to their iconic ‘60s to ‘80s styles. As if living in a bubble, these characters are forever connected to their identities through costume.

The consistency in style and nuance is impeccable and especially impressive considering there is no one singular costume designer upon whom Anderson relies.

The director has enlisted a multitude of fashion houses throughout his career to provide costumes for his projects.

Prada, Marc Jacobs, Fendi and Louis Vuitton, among others, have all contributed significantly to his films (Navas, 2021).

The retro tendencies of Anderson’s films continue to show themselves every day in the fashion industry, with new mod-revival pieces crossing the runway every season. Autumn 2015 alone is proof of Anderson’s influence on the world of fashion, as designs inspired by his films appeared in the shows of Gucci, Miu Miu and Lacoste (Grazia, 2015).

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Chanel’s Fall 2022 collection showcased structured designs with clear influences from the ‘60s and early ‘70s.

The tailored jackets and midlength skirts looked straight out of “Moonrise Kingdom” or “The French Dispatch” (Dick, 2021). This show featured the same color palette Anderson used in the “Grand Budapest Hotel,” with rich magenta tones, pastel pinks and lustrous golden trim. The same film aligns with Rodarte’s Fall 2022 collection, which touches on the tender side of Anderson’s aesthetic by utilizing tulle and soft hues to create delicate and ultrafeminine looks. Rodarte’s models appear as though they could be wearing the ingredients from Mendel’s bakery. Like little pink cakes on a conveyor belt, they float across the runway with the same kind of effortless elegance that Anderson’s set designs always flaunt.

Anderson’s style choices have influenced today’s generation of fashion-forward thinkers.

Generation Z has been hooked on the idea of

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‘vintage’ since we visited thrift stores for the first time as preteens. The idea of pulling off the highly-curated and eye-catching looks presented in Anderson’s films is incredibly appealing – it seems there is nothing more avant-garde than to be completely individual.

Maybe that’s what’s so easy to love about Anderson’s films. No one character stands out in particular because everyone gleams on their own through their vivid stylistic representations of themselves. Simplicity appears almost impossible to achieve anymore, as maximalism climbs in popularity.

Anderson’s style revives minimalism’s adage “less is more” in a way that still allows for the individual expression of one’s personality. He proves it’s all in the details. Sam, the young orphan scout in “Moonrise Kingdom,” proudly wears his late mother’s pearl brooch on his uniform to feel closer to her. It’s a clear violation of the Scoutmaster’s policy, but

ringing true to Anderson’s character arcs, Sam will always remain authentic to his personal expression no matter the consequence.

Pushing against the idea that modern and trendy is better, he reminds us that it’s okay to indulge the inner child that wants to wear something a little outrageous.

As viewers, we learn from the costume design in Anderson’s films.

Yes, we draw inspiration from the highend contemporary garments featured so unceremoniously in the movies, like Margot Tenenbaum’s brown Hermés Birkin bag (a daily essential). But more importantly, we learn how to practice expressing our inner child playfully and unapologetically. Presenting yourself exactly as you would like to be, no matter the situation, is a high test of confidence. Anyone who can devote their wardrobe to their identity in the same manner as Anderson’s eclectic characters deserves kudos (and a brown Birkin bag).

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Model: Delfina Mestroni

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G O F IN

The Evolution of My Personal Style

By Petra Culbertson Picture every pattern you can possibly come up with, and then try to make an outfit out of it.

Hard? Not for me. At the age of five years old, I can confidently say it gave me joy to wear such outlandish and ridiculous outfits. Looking back, it’s clear to see that these were the years of being unashamed to walk out of the house in clothes my mother would not have picked out herself.

I was raised in a rural part of South Carolina where most folks did not appreciate any sort of fashion sense outside of the norm. I received many looks for the Justice scratchand-sniff t-shirt and zebra pant combination I wore to school.

While I followed a slight trend of shopping at Justice, my priority was wearing what made me happy on the daily.

A fan favorite of my thirdgrade teacher was the floorlength pink velvet dress I would occasionally break out, a style

quite literally no other students had. That I can say for sure.

I didn’t have a lot of girl friends because, well, girls can be mean. At that age, I was scared of them, so instead of begging them to like me, I hung out with the boys. This probably sounds “pick me,” but the boys did not care how I dressed, impacting my mental health in a positive way. I could ignore the judgment of girls that only wore lace tank tops and tiny shorts with their shaved legs, as opposed to the flat bill hats I was obsessed with.

After getting the devastating news that I would be uprooted and moved to Arkansas, I decided that I was going to be a popular girl – a horrible decision in retrospect. Bye-bye youthful carelessness, give me the basic girl and let me be just like her. On the first day of school, I scouted out the cute friend group in the trendy infinity scarves, hoping they 63

would accept me and my nonNorth Face bookbag. I was in.

My mom took me shopping and I bought all of the “essentials” I believed I so desperately needed to fit in. Little did I know that three years of low self-esteem were on their way.

“Looking back, it’s clear to see that these were the years of being unashamed to walk out of the house in clothes my mother would not have picked out herself.”

Post-makeover with countless items from Sephora, bubble necklaces, TOMs wedges, Nike shorts and everything patterned chevron, I felt so happy to be included with a group of girls.

After five years of elementary school without girl friends, I really did enjoy the gossip and girls’ nights, but something didn’t feel right. That feeling stayed throughout middle school as I suppressed a lot about myself to wear and have the 64

next coolest thing. You wouldn’t believe how angry I got at my parents when they wouldn’t let me wear a skimpy bikini as a thirteen-year-old – a reaction I would have never had when I felt truly secure and happy with myself.

My father told me we had to move again after eighth grade, and in line with teenage angst, I felt like my world was ending.

Who did I have to cling to now?

I decided that with my move to Georgia before high school, it was time for another rebranding.

I had done the “not giving a care” about other people’s opinions and the only caring about other people’s opinions, yet I was desperate to find a (still cute) middle ground. I decided to pick my friends based on who made me feel comfortable and safe, a decision that led me down a pretty awesome road of figuring out who I was during my four years of high school.

I tried it all in high school alongside my friends who were always exploring new looks.

Monday: bodysuits and thighhigh boots. Tuesday: pearls and kitten heels. Wednesday: braiding necklaces into my hair – it really was a guessing game inspired by the trends that I wanted to try out to see what suited me best. And a funny

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thing happened – people loved it. Even though most girls, and me on occasion, were married to the oversized t-shirt and leggings combo, I was often complimented on my outfits. I now realize that the reason why being myself worked so much better for me in high school than in elementary school was because I was outgoing and confident. Instead of being nervous to be around people that might not “agree” with my outfit, I just did my own thing and was thankful that people around me were accepting of it.

College was a whole new beast that stole my personal style for a little while. I love being in a sorority, but anyone can admit that joining one makes a new member want to dress like the older girls – in other words, a full Lululemon wardrobe. Since then, I have, of course, expanded myself, especially considering I am in my senior year, but I still find myself lacking the motivation to fully delve into my personal style on a daily basis. Thankfully, I was given the opportunity to study abroad in France this past summer, and my love for fashion was reignited as I researched how to have the effortlessly cool, French city-girl look. Being around so many styles and

different people while cherrypicking the elements of fashion I loved from each place I went to brought zealous excitement for how I was going to improve and get back into my personal style after being beaten down by the conforming elements of college.

After finding linen, buttondowns, leather blazers and Vejas shoes, I think I can proudly say I am in my favorite fashion era.

“Instead of being nervous to be around people that might not “agree” with my outfit, I just did my own thing and was thankful that people around me were accepting of it.”

I am versatile, I am in style and I am myself, surrounded by those who encourage me to look and feel my absolute best. To anyone moving into a new phase of life – style yourself in a way that makes you love looking in the mirror. You are the designer of your own fashion.

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Ph o t o g raphy by Amal Supariwala, txa V illa, She ena Deepak

e g u o R e ts of th e s o l c the tiques u m o o b r f s n Styled d Athe n a f f a t zine S Maga

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Model: Adam Starks 70

Chapter IV.

By Lily Baldwin It’s Friday night and you just left prom. You’re in the back of your newly-licensed best friend’s car with the windows down and a sweatshirt pulled over your pink dress. Try to recall flying down the highway; you can’t hear a word anyone says over the pounding speakers and rushing wind. Driving to the park and ignoring your parents’ calls, you catch yourself smiling ear-to-ear. Because, with your friends by your side and the traffic lights flying by like meteors, this is the biggest you’ve ever felt.

It was hard to be a bright-eyed high school freshman when you seemingly had no say in your chaotic life. And even though you might find your first kiss smack-dab in the middle of 16, it doesn’t always feel sweet. But there’s a reason there are so many songs about being 17. Stevie Nicks and ABBA understood the importance of this age in the 70s just as much as Lana Del Rey and Olivia Rodrigo do today; that’s because being on the cusp of adulthood is a universal experience. Not yet an adult, but no longer feeling like a child, this transitional period is both thrilling and terrifying at the same time.

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Fashion has always been there as an outlet to cope with the anxiety of growing up. How you view yourself has a direct effect on your confidence. That’s why it’s so important to express yourself boldly, even if it means dressing way out of your comfort zone on the first day of class.

You have the freedom to be fearless in both your dress and the way you carry yourself, and throwing caution to the wind makes your personal style journey more authentic. We gain strength, wisdom and confidence through mistakes, both in style and life choices, so don’t stop playing dress-up out of fear.

Our teen years show us that there will be tribulations, but that we are bigger than our bad days. It’s okay to mourn your youth when life gets hard, but then remember that you’re still that same child running through the woods wielding a wooden sword and crown. In the big picture, what matters is that each chapter of your life tells your story genuinely, because in the end, you’re the one who will be living the tale.

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Model: Žemyna Mikalčiūtė 74

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It’s time to say goodbye to boring.

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G N I OU Y A R T G

By Evelyn Krakovski

It’s normal to own basics in the closet – a white tee, a pair of jeans and an abundance of blacks, grays and neutrals. Minimalistic pieces are essential to balancing an outfit, achieving an affordably chic look or quickly throwing something on to run errands. Yet, the minimalism trend is causing the fashion industry to “gray out,” leaving nothing popping with color anymore. While the industry is supposed to attract a diverse selection of designs highlighting varying fabrics, colors, textures and shapes to catch the eye, more people today are wearing less color to work, the grocery store, a party or even a night out on the town. The transition from

childhood into adulthood involves a multitude of life lessons and learned experiences that shape the entire person, but throughout this process, the wardrobe tends to lose the eccentricity of its vibrant colors.

Maturing into adulthood, you have significantly more on your plate than when you were a child living under your parents’ roof, from keeping a job to paying for rent, electricity bills, groceries and everything in between – you may even need to support someone other than yourself. Life grays out when these responsibilities become more pressing, blurring each day into a vague, unidentifiable shade.

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and professional spaces, stigmas insist that working people must don boring business wear to look professional, opting for grays, blacks, whites and creams for pantsuits, pencil skirts and sports jackets. However, in the 21st century, the time has come to reintroduce color into our daily attire.

Increasingly, men are not only welcomed to, but encouraged to add accents of color when going to work, such as a vibrant tie or button-down. Color experts identify a “foolproof” list of creative business attire for men, featuring a solid suit, patterned shirt and a solid color tie (Smith, n.d.). Mixing and matching the wardrobe to create various outfits for the professional world is encouraged, and as a result, the colorful wardrobe brings life into the office through its vibrancy.

Beyond business wear, minimalism

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plays a key role in creating a colorless adulthood. The search for a sophisticated everyday look when styling an outfit steers many onto the path of a more plain wardrobe. Minimalism is known to emphasize simplicity, and it remains important to own several minimalistic pieces to ensure balance throughout one’s closet. But, these pieces can be elevated in a spiced-up ensemble, evolving into a mesmerizing look (Griswold, 2020). Look for pieces with clean lines to enhance an outfit with structural minimalism.

Or, employ a textured fabric, pinstripes or even a unique garment stitch to emphasize the figure. Minimalist accessories feature dainty jewelry of silvers and golds. Brands like Vivienne Westwood, Swarovski, and Tiffany & Co. easily enhance an outfit with refined, quality pieces in a variety of tones.

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Colorist forecasts are made years in advance to give manufacturers time to find the raw materials necessary to align with future trends (Blaszczyk, 2008). Members of the fashion community may struggle with choosing the best colors for their daily wear as the industry exists as a cycle with new trends going out and the same trends eventually filtering back in. Recycling the same colors every few years is common and absolutely acceptable in today’s fashion. However, not everyone can buy every article of clothing in all the colors of the rainbow.

Choose your own color scheme.

Highlight a specific palette of pastels, muted fall shades, neons or even simply your favorite colors throughout your wardrobe. The most extraordinary part of figuring out what colors to utilize to spice up your everyday garments is that you have the freedom to style as you please. Styling outfits as an adult can be harder with the potential loss of the experimental imagination you had as a kid, but you can easily reignite that mindset with the addition of color to your clothing collection, bringing back the fun in getting ready each day.

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Epilogue: Special Thanks to

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Cheeky Peach C. Tucker & Co (visit ctuckerandco.com to learn more about the location of our Checkmate, I Win! Photoshoot) Jewon Lyu, PhD Kempt Shop Katie Bop Zombie Coffee and Donuts

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Adolescent Flair in High-Fashion Menswear Barry, C. (2022, June 19). Prada Mixes Nostalgia and Grunge For Summer 2023 Menswear. Associated Press. Retrieved from https://apnews.com/article/entertainmentmiuccia-prada-milan-c94ba89bd02bf39d2968ab7ab5d6a4fd Criales-Unzueta, J. (2022, October 13). A Guide to Menswear at the Spring 2023 Womenswear Shows. Vogue. Retrieved from https://www.vogue.com/article/spring2023-trend-report-menswear-at-womenswear Fernández-Carnicero, C. (2019, May 29). Are you ready to bring your favourite childhood trends back into your wardrobe? Vogue India. Retrieved from https://www. vogue.in/fashion/content/90s-childhood-fashion-trend-revival Leitch, L. (2022, October 12). Ambush Spring 2023 Ready-To-Wear. Vogue Runway.

Retrieved from https://www.vogue.com/fashion-shows/spring-2023-ready-to-wear/ ambush Leitch, L. (2022, October 14). Palm Angels Spring 2023 Ready-To-Wear. Vogue Runway. Retrieved from https://www.vogue.com/fashion-shows/spring-2023-ready-towear/palm-angels

SOUR Pop Culture and Pigtails: The Sexualization of Children’s Fashion Chery, S. (2022, September 21). Servers in pigtails earn more tips. It’s creeping them out. The Washington Post. Retrieved from https://www.washingtonpost.com/ lifestyle/2022/09/21/servers-pigtails-earn-more-tips-its-creeping-them-out/ Goodin, S. M., Van Denburg, A., Murnen, S. K. & Smolak, L. (2011, May 3). “Putting On” Sexiness: A Content Analysis of the Presence of Sexualizing Characteristics in Girls’ Clothing. SpringerLink. Retrieved from https://link.springer.com/article/10.1007/s11199-011-9966-8 Lamb, S., & Koven, J. (2019, October 4). Sexualization of Girls: Addressing Criticism of the APA Report, Presenting New Evidence. Sage Journals. Retrieved from https:// journals.sagepub.com/doi/10.1177/2158244019881024 Lester, T. L. (2011, May 10). Scary But True: Study Shows 1/3 of Clothes Designed For Young Girls Can Be Considered “Sexy.” Glamour. Retrieved from https://www.glamour.com/story/scary-but-true-study-shows-13 Papageorgiou, A., Fisher, C. & Cross, D. (2022, June 27). “Why don’t I look like her?” How adolescent girls view social media and its connection to body image.

BMC Women’s Health. Retrieved from https://www.ncbi.nlm.nih.gov/pmc/articles/ PMC9238066/ Pappas, S. (2011, May 20). 30% of Girls’ Clothing Is Sexualized in Major Sales Trend.

NBC News. Retrieved from https://www.nbcnews.com/id/wbna43110279 Saad, N. (2022, August 31). New allegations against producer Dan Schneider include hyper-sexual practices at Nickelodeon. Los Angeles Times. Retrieved from https://www.latimes.com/entertainment-arts/tv/story/2022-08-31/dan-schneidernickelodeon-allegations-jennette-mccurdy#:~:text=The%20Business%20Insider%20 story%20published,that%20he%20also%20asked%20for Springer Science+Business Media. (2011, May 9). Sexy clothes -- too much, too young: Study reveals that a significant proportion of young girls’ clothing is sexualized. ScienceDaily. Retrieved from https://www.sciencedaily.com/ releases/2011/05/110509091420.htm

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Decades in the Making: Fashion’s Revival of Nuanced Nostalgia Maher, D. (n.d.). We ask psychologists why the ‘kidcore’ fashion trend has become the colourful answer to our post-COVID blues. Harper’s Bazaar Australia. Retrieved from https://harpersbazaar.com.au/kidcore-fashion-trend/ Sidell, M. W. (2019, March 11). Aging Millennials Soothe Themselves with Childlike Fashions. Women’s Wear Daily. Retrieved from https://wwd.com/fashion-news/fashionfeatures/aging-millennials-soothe-themselves-childlike-fashions-1203078131/

RCES Film to Fashion: The ‘Wes Anderson Effect’ on Modern Expression Allaire, C. (2021, October 5). What Makes Margot Tenenbaum’s Style So Good, Even 20 Years Later. Vogue. Retrieved from https://www. vogue.com/slideshow/margot-tenenbaum-style-20-year-anniversary Dick, M. F. (2021, October 19). Wes Anderson’s latest film ‘The French Dispatch’ is another fashion triumph. Vogue Scandinavia. Retrieved from https://www. voguescandinavia.com/articles/how-to-channel-wes-anderson-without-looking-like-youreplaying-dress-ups Grazia. (2015, August 20). Gucci, Miu Miu, Lacoste And More Are Having A Major Wes Anderson Moment – Sweatbands At The Ready! Grazia. Retrieved from https:// graziadaily.co.uk/fashion/news/wes-anderson-fashion-autumn-winter-2015-miu-miugucci-bally/ Navas, J. (2021, November 15). How Fashion Orbits Wes Anderson’s Cinematic Universe. CR Fashionbook. Retrieved from https://crfashionbook.com/fashiona38252428-how-fashion-orbits-wes-andersons-cinematic-universe/ ‘Graying Out’: It’s Time To Say Goodbye to Boring Blaszczyk, R. L. (2008, March/April). The Color of Fashion. National Endowment for the Humanities. Retrieved from https://www.neh.gov/humanities/2008/marchapril/ feature/the-color-fashion Griswold, M. (2020, August 7). 9 Minimalist Fashion Trends That Are Timelessly Chic.

StyleCaster. Retrieved from https://stylecaster.com/minimalist-fashion-trends/#slide-6 Smith, K. (n.d.). Best Business Colors For Men. Sensational Color. Retrieved from https://www.sensationalcolor.com/mens-business-colors/

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