Rouge Magazine SS23

ROUGE MAGAZINE VOL. IV, ISSUE II S/S 2023

WEARABLE

ART

Rou

Instagram: @rouge.mag Email: editors.rouge@gmail.com Web: rougemag.squarespace.com

g

ROUGE MAGAZINE Rouge Magazine is the official fashion magazine at the University of Georgia, founded in August 2007 by three students within the College of Family and Consumer Sciences who recognized a need for a fashion-oriented publication. It became a registered student organization in 2008. Rouge is a biannual, full color publication funded by dues and a onceyearly allowance from the University’s College of Family and Consumer Sciences.

The community of Athens, Georgia is one that Rouge is devoted to supporting through featuring local boutiques in the styling process, photographing various locations around the area, and engaging with the fashion-loving population through events and social media. Each issue is designed entirely from scratch by members of the Rouge staff in conjunction with the executive board and can best be described as the product of eager passion and a true love for the fashion industry.

Rouge aims to create content that inspires the student body to be bold, to serve as a resource for fashion-related events from a variety of perspectives, and to stitch together a publication each semester that all students can draw something from, whether it be style inspiration, knowledge of the fashion industry, or an aesthetically pleasing graphic design scheme.

SPRING/SUMMER 2023

STYLING

COMMUNICATIONS Alexa Krasner Chloe Lahr Grace Grant Hope Thornton Hudson Hoylen Isabella Martinez Jin Lee Kanan Parikh Keertana Konduru Khushi Valliani Layla Rogers Lexi Lewis Marisa Gu Max Winkler Sheena Deepak Sydney Fogarty

VISUAL CONTENT Amal Supariwala Anna Legan West Ellie Archer Emily Cummings Jack Casey Kristen Murphy Sheena Deepak

GRAPHIC DESIGN Amelia Hay Amelia Pappas Cece Nguyen Cody Murray Hailey Tangum Isabella Pang Jordan Ellis Maddie Ramsey

Amelia Hay Amelia Pappas Catherine Grace Sigman Catherine Kitchens Chloe Lahr Daniela Rodriguez Delaney Denton Gianna Uvari Hope Thornton Jack Capell Jordan Ellis Kanan Parikh Katie Embry Lauren Roush Lexi Lewis Lucy Marshall Madeline Jankowski Sloane Rice Sophia Bradley Sophie Baker

WRITING

Catherine Grace Sigman Emily Slepsky Evelyn Krakovski Gianna Uvari Hannah King Hannah Rieder Hannah Weeks Helen Sorme Lily Baldwin Madeline Jankowski Mia Romans Petra Culbertson Zoey Stephens

BEAUTY Lucy Marshall Rachael Lalor

SOCIAL MEDIA Alexa Krasner Amal Supariwala Ann Harper Covington Daniela Rodriguez Ellie Archer Hannah King Hudson Hoylen Khushi Valliani Kyle Reichert Liliana Guilfoyle Mariana Mejia Marisa Gu Miranda Macha Petra Culbertson Rachael Lalor Ritika Sharma Sierra Bolin Sydney Staton

DIGITAL CONTENT Ally Thompson Ann Harper Covington Avni Trivedi Barbara Edmonds Emily Slepsky Julia Harbison Lawton Harris Lily Baldwin Mariana Mejia McCain Bracewell Mia Romans Ritika Sharma Sophie Baker Sophie Difusco Trinity Gates

CONTRIBUTORS

EXECUTIVE BOARD Editor in Chief CECE GROSZ Creative Director MARGAUX BINDER Director of Communications SMRITI TAYAL Director of Visual Content SAVANNAH HERNANDEZ Director of Styling SCOTLAND GEURINK Womenswear Editor JORDAN LONG Menswear Editor JEY SIRMANS Director of Beauty ANNABELLE MARSHALL Beauty Editor JULIA O'NEAL Director of Writing ALEXIS DERICKSON Director of Graphic Design KEREN SAHAR Director of Digital Content MARY RENFROE Director of Social Media SYDNEY BOLIN Director of Finance MONSE MORGAN

12

Values of Light and Color FIRST IMPRESSIONS TIMELESS, TRIED, AND TRUE

CONT

GLIMMERS OF A GILDED ERA

30

Charges of Dynamite BACK TO BOLD DOES FASHION IMITATE LIFE? GLOBAL GARMENTS

SSENTS 23 68

Reality, Rejected DEFY CONVENTION THE COMPUTED CONTEMPORARY PORTRAIT OF A STUDENT ARTIST: Q&A WITH SARAH LANDMESSER

52

Silhouettes of the Sun FORCES OF REACTION THE ART OF THE BODY THE BLUEPRINT

LETTER from the EDITOR A

s varied and distinctive as their opinions may be, I believe anyone who has a true appreciation for style can agree that clothing is a veritable artform. The principle concept that this issue, themed “Wearable Art,” explores is the relationship between fashion and visual artwork.

Artists have captured humanity in brushstrokes and pigment throughout history, but is that any different than designers with needles and thread?

The pace and sheer volume of the contemporary fashion industry offers only a miniscule glimpse into the process of transforming raw materials into the clothing we purchase. Is the element of craftsmanship in apparel simply a relic of a bygone era, apart from the lofty ideals of couture?

The ambition for this issue, my last, is that the reader will be inspired to answer that question firmly in the negative. The featured visual concepts stretch across four broader modern art movements, from the airy 10

individualism of the Impressionists to the fiery vibrance of les Fauves, the ornate decoration of Art Nouveau to the nonsensical expressiveness of Abstraction. The boundary between clothing and visual art is endlessly ebbing and flowing: one plays the muse for the other, then the roles abruptly reverse. Written pieces in the pages to follow provide discourse not limited to textiles, but also considering elements of performance, architecture, technology and more. I’m overjoyed that my third and final issue as editor revolves around a topic so dear to my heart, and my hope is that you feel creatively emboldened to incorporate a sense of artistry into your wardrobe.

Devotedly,

Cece Grosz

CEC

C Z S O R G E

11

12

Values of Light and Color

PHOTOGRAPHY AMAL SUPARIWALA, ANNA LEGAN WEST, EMILY CUMMINGS, KRISTEN MURPHY. STYLING SCOTLAND GEURINK, JEY SIRMANS, JORDAN LONG. STYLING ASSISTANTS CATHERINE GRACE SIGMAN, GIANNA UVARI, JACK CAPELL, KATIE EMBRY, MADELINE JANKOWSKI. HAIR AND MAKEUP ANNABELLE MARSHALL, JULIA O’NEAL, LUCY MARSHALL, RACHAEL LALOR. MODELS ALLIE MALONEY, MAX BARKER, ZOIE DAUGHTRY.

13

14

First Impressions W

a l k i n g violet, pink, and Step into the through other garden-esque light-filled world Parisian museums shades (Gershof Impressionism. such as Musée Nesic, n.d.). Dresses Petra Culbertson d'Orsay, the Louvre, and parasols were on the history and and Musée de delicately brushed influence of the l’Orangerie, viewers into existence in are met with vivid purposeful, airy movement upon florals, depictions hues. The wearers fashion of light and water, of Impressionist and short brush strokes that paint the fashion held themselves in poses just as picture of leisure and social pleasure relaxing as the light captured by the art. in the late 19th century. The period of Whether lounging in a garden, gliding Impressionism is illustrated by iconic on a tree swing, or sitting by the water, figures like Claude Monet, Edgar Degas, women in Impressionist paintings were Pierre-Auguste Renoir, and countless clad in pastels, airy clothing, ruffles, others that contributed to the world of and bows ideal for a sunny spring day. art through their work. These artists Claude Monet, best known for his Water used florals and fashion to capture a Lilies, managed to represent and lead peaceful and delicate moment in time the Impressionist period by establishing that continues to influence the current these peaceful moods. Monet’s fashion industry. effortless brushwork, which emphasized Impressionist painters used various atmosphere and movement, inspired techniques to capture light and make the fashion designers to create clothing with clothing appear unique and exquisite. flowy and billowing silhouettes, giving The concept of “en plein air,” meaning them a sense of movement and lightness. “in open air,” was one way Impressionist Directly influenced by Claude Monet is artists were able to bring illumination the iconic French fashion house, Chanel. into fine art and create a mood of The brand has referenced Monet’s serenity, using colors like green, blue, paintings in its collections, incorporating 15

elements of his signature style (Talon, 2021). Chanel’s S/S 2021 Haute collection, inspired by Monet’s famous floral paintings, featured dresses with impressionistic prints in soft, dreamy shades of pink. The collection was praised for its imaginative take on Monet’s iconic style and its successful incorporation of his artistic vision into contemporary fashion (Cardin-Goyer, 2021).

Pierre-Auguste Renoir’s Luncheon of the Boating Party similarly influences modern designers. The painting, which was completed in 1881, features a group of people enjoying a meal on a terrace overlooking the Seine River (Luncheon of the Boating Party, n.d.). The flowing silhouettes and carefree attitudes of the figures in the painting inspired designers such or coastal vacationas Diane von Over 100 years themed photoshoots Fürstenberg, to showcase their inventing later there is still collections. styles like the excitement around The presentation of wrap dress the airy and apparel is not only (Encyclopædia whimsical feminity reserved for modern Britannica of Impressionist collections, but also for E d i t o r s , clothing historical selections.

2023).

These The art of fashion designers have incorporated this bohemian, nonchalant within Impressionistic paintings was mood into their collections, featuring on display at the Metropolitan Museum flowy, off-the-shoulder dresses and wide- of Art in 2013, featuring the day dresses brimmed hats in a modern take on the from noteworthy Impressionist pieces. classic Impressionist style. The focus The princess-style garments hung in on outdoor leisure activities and relaxed glass cases modeled in front of the lifestyles in Impressionist paintings respective canvases, exuding the feeling impacted the way fashion is marketed of high social status held by women today, as designers often use outdoor that could lounge around in layers of 16

embroidered cotton, fanning themselves (Impressionism, Fashion, and Modernity, n.d.). While these exact shapes and materials are not perfectly mirrored in clothing pieces today, over 100 years later there is still excitement around the airy and whimsical feminity of Impressionist clothing.

Vogue took to keeping the Impressionist period alive through fashion by releasing creative works like blog posts that offer lists of modern, trendy dresses for the springtime. The title of one post, “26 Impressionist Floral Dresses That Are as Pretty as a Painting,” not only inspires readers to explore the floral, light, and dainty patterns and shapes,

but simultaneously combines the key elements of Impressionist art with modern garments for readers to be further inspired by already iconic art (Rutkowski, 2022). The piecing together of the world of art and the world of fashion design by this industry powerhouse is enough to pique the curiosity of anyone walking around a museum and searching for a deeper meaning in the items they wear. As so many modern designers value Impressionism, the movement will continue to flourish through fashion, sparking innovative ways to bring a breath of fresh air from the paper canvas to the body.

17

TIMELESS, TRIED, and TRUE

“

The balletcore Swan Lake,” an Impressionismera ballet written by Pyotr Ilyich movement and Tchaikovsky, has influenced ballet Swan Lake’s iconic and runway fashion for centuries. The 1877 ballet boasted exquisitely ethereal impact costumes and sets reminiscent of the en

HELEN SORME 18

plein air motif of the movement. Set to the tune of emotional, classical music, dainty feathers are paired with airy, layered tutus, intertwined to create a timeless performance reinterpreted for over 125 years. Balletcore, a modern day renaissance of ballet’s influence on fashion trends and “defined by graceful, feminine fashion” recently gained significant traction in the fashion sphere (Bujnosek, 2022).

“Swan Lake” tells the story of Prince Siegfried and Princess Odette’s tragic love affair, betrayal, and eventual reconnection.

Princess Odette and other maidens were cursed by an evil sorcerer, doomed to transform into swans by day and women by night. Prince Siegfried falls for Odette and vows to break the curse with his undying love, until he is tricked by the sorcerer into promising his hand

to the sorcerer’s daughter, Odile.

Heartbroken, Odette and Sigfried both accept death, thus proving their steadfast love and breaking the curse.

Their spirits are then reconnected for the rest of eternity (Irvine, 2022).

The fragility and femininity of the swan costumes are elegantly captured in delicate white tutus and bodices adorned with small feathers (Make it Visceral and Real, 2022). Throughout its existence, “Swan Lake” has encapsulated the dream-like aspects of the Impressionist era and combined them with ballet’s unique artistry. The whimsical costumes and fluid, graceful dancing brought Tchaikovsky’s musical score to life, elevating “the work from simple ballet, to an exaggerated pantomime-like masterpiece” (Beghin, 2021). The show’s choreography, an amalgamation of dances from around Europe, has grown into one of the most sought-after programs for ballet companies around the world.

The ballet itself is an everlasting manifestation of the Impressionist movement, as the ballerinas’ costumes reflect the gossamer, ephemeral scenes of the era, their physical motion serving as an extension of that same sensibility.

Its classicality has been admired for centuries, despite the constantly changing cultural landscapes in which it is performed. “The steps and costumes remain basically unchanged even if the audience, and sometimes the dancers themselves, no longer know what it all means,” an aspect attributable to modern interpretations 19

The ballet itself is an everlasting manifestation of the Impressionist movement, as the ballerinas’ costumes reflect the gossamer, ephemeral scenes of the era, their physical motion serving as an extension of that same sensibility

20

of ballet costumes (Mainwaring, 2019).

Balletcore embodies this rendition of traditional ballerina attire. Focusing on hyper-femininity through soft pinks, gentle cardigans, and dainty accessories, the trend has allowed the public to explore their delicate side (Bujnosek, 2022). First turning heads on TikTok in 2022, balletcore is known as Gen Z’s presentation of ballet fashion in the public sphere (Bateman, 2022). Balletcore lies at the intersection of comfort and class by combining sleek silhouettes and athleisure, which have proven to be sought-after aesthetics in recent years.

Ballet flats paired with silk or satin tops, tulle skirts, and muted pastels serve as a common blueprint for this ballet-inspired streetwear (Goldberg, 2022).

Contrary to the strictly exclusive

physiques that are traditionally cast in ballets, balletcore has been widely embraced by people of all body types, challenging what is considered the ideal ballerina figure. The novel inclusivity sweeping the public’s execution of iconic fashion proves to be a timely facet of ballet’s cultural influence.

Impressionist impact has manifested through countless avenues into current fashion, entertainment, and lifestyle.

“Swan Lake” serves as an exceptional example of the era’s continuous relevance, acting as a canvas for countless reinterpretations, regardless of popular culture. Integrating classic pieces into current fashion reflects the timeless effect that Impressionism and its ballets have on public ideas and expressions of femininity, grace, and effervescence.

21

GLIMMERS Gianna Uvari

of a

22

GILDED ERA

I

mpressionism is a form of art that is timeless. In Paris, where Impressionism first flourished in the 1860s, the style of clothing was elegant and dignified, reflecting the avant-garde artwork of the age.

Focusing on the everyday life of people and the natural world, artwork of this time was painted outdoors in nature, known

as “en plein air” paintings (History.com Editors, 2017). This delicate artwork, which looks so intricate, reflects the fashion of the time. Women’s fashion used detailed fabrics including lace with detailed designs, featuring bell-shaped silhouettes, cuffed-sleeves, ruffles, and ruched skirts (History of Fashion 18401900, n.d.). High volume skirts were the most popular, giving a dramatic and eyecatching appearance to elite women of the time. Impressionist artists focused on snapshots of everyday life, yet the women’s fashion of the time reflected anything but practicality, signifying a glamorous world.

This dignified world of Parisian elite society is seen in the Impressionist painting Dance at Le moulin de la Galette

by Pierre-Auguste Renoir (Scott, 2018). In this painting, Parisian fashion of the time is clearly reflected through the women’s ornate dresses with pastel fabric, full skirts, and ruffled sleeves, creating a casual yet elegant scene. The painting itself is light, reflecting the romanticized world of elites congregating with one another in a vision of aimless beauty (Scott, 2018).

Rather than mixing colors, Impressionist artists used bright and bold hues in long brushstrokes to give the illusion of the shades blending into each other (Scott, 2018). Mirroring the outdoors, color palettes reflected natural tones of emerald, chestnut, and burgundy paired with pastels to provide a stark contrast against darker fabrics (Fashion Trends, n.d.).

How does this all tie into modern elite

society? Fashion and artistic eras are still remembered and recaptured through the annual Met Gala, an event used to fundraise for the Metropolitan Museum of Art. Last year, the gala’s theme was “Gilded Glamour,” reflecting the Gilded Age of the late 1800s, a time during which Impressionist art flourished.

Actress Blake Lively’s dress at the 2022 Met Gala highlighted both the brighter pastels used in the Impressionist era along with the darker earth tones.

While the dress itself represented the Statue of Liberty’s transition from shiny copper to an oxidized teal, the copper also represented an earthy tone. Pastel blue notes highlighted the color contrast visible throughout the late 1800s in elite fashion and Impressionist art (Fernandez, 2022). The dress’ full skirt and dramatic train were common in the late 1800s’ full bottom silhouette, capturing an element of the time.

Singer Billie Eilish’s dress reflected the predominant style of the same time period, the elegance and cinch of her waist in the corset she wore complemented by the garment’s bustle and train (Rearick, 2022). Her lace sleeves paralleled the commonly used gossamer-like material, radiating an elegant aesthetic. The pastels she adorns in this outfit echo the pastel coloring used in the art and fashion of the late 1800s.

Impressionism also influences everyday apparel, including the Cottagecore movement. This movement, which became popular in 2020, captures a similar aesthetic to Impressionism art and Victorian Era fashion (Reggev, 2020).

23

High

Society

24

25

Pleasant and beautiful life within nature is represented within the Cottagecore movement, aesthetically representing depictions of Impressionist artwork, including the “Water Lilies” painting series

by Claude Monet. Within the painting, the beauty of nature can be seen through the lilies and the frequent motif of a bridge across a river with trees in full blossom in the background. Fashion within the Cottagecore movement features hues similar to those popular the 1800s, as pastels align with darker shades or starker whites.

The feminine, dainty feel of Cottagecore is reminiscent of the elegance of Victorian Era fashion, including recurrent fabrics like lace and silk (Frey, 2020).

As seen in modern times, celebrities wear a coalescence of art and fashion to create silhouettes, colors, and embellishments reminiscent of the late 1800s. Both Impressionist art and fashion are inspirations for each other, interconnecting and creating an extravagant, rich, and breathtaking reality.

26

27

28

29

PHOTOGRAPHY AMAL SUPARIWALA, ANNA LEGAN WEST. STYLING SCOTLAND GEURINK, JEY SIRMANS, JORDAN LONG. STYLING ASSISTANTS CATHERINE GRACE SIGMAN, DELANEY DENTON, GIANNA UVARI, JACK CAPELL, SOPHIE BAKER. HAIR AND MAKEUP ANNABELLE MARSHALL, LUCY MARSHALL, RACHAEL LALOR. MODELS CATHERINE GRACE SIGMAN, KALIN VALONE, NINA WATSON.

CHARGES 30

OF

DYNAMITE 31

BACK TO

32

Emily Slepsky

BOLD

I

t is distinguishable imagery with a twist of incongruent color schemes. It is obscure figures painted red, arms intertwined as they dance to encircle a blue and green field.

A sky comprised of bright yellows and pinks. Mountains adorned with pigments so vibrant that one can get lost in their allure. A statement dress or an embroidered jacket with colors so vivid that they leave their viewer wanting more, wondering why they are not in their closet already. It is one of the first avant-garde art movements of the 20th century: Fauvism.

33

34

Utilizing color in a revolutionary manner so as to be recognizable to the human eye while remaining exceptionally complex is the foundation of Fauvism. Deviating from the Impressionist movement, Fauvism embraced bold, vibrant colors portraying the strong emotions of painted subjects. Often depicting abnormal figures and shapes, Fauvists sought to introduce a new perspective of painting to society, one that rejected the standard color wheel theory and instead chose colors derived from feeling and energy.

Henri Matisse, the deemed father of Fauvism, introduced France to the use of outrageous colors to depict scenes that appeared to reflect a reality dominated by color (Scott, 2019). Matisse viewed colors in an interpretive way, saying, “When I put down a green, it doesn’t mean grass; and when I put down a blue, it doesn’t mean the sky” (Scott, 2019). Dance, one of his most well-known pieces, features figures interlocked in a circle, painted in vivid red.

Shocking many with its strongly-colored and suggestive nature, Dance depicts ambiguous, bright red nude figures dancing against a contrastingly blue and green background (Art Analysis: Dance

by Henri Matisse, 2019).

Col

or

Matisse’s desire to create The Joy of Life, a piece of controversy in the same vein, only grew after the negative criticism he received. Nude figures are composed of primary colors using a light brush stroke.

Characterized by bright yellow grass and a rich red sky, a beautiful contrast exists between the surrounding environment and the figures, highlighting the piece’s compelling emotionality.

During Paris Fashion Week in fall of 2020, Celine released a menswear collection inspired by eccentricity. A bomber jacket decorated in gold served as the main asset of Celine’s collection showcasing a design originating from the paintings of Canadian artist Darby Milbrath (Dooley, 2019). The artwork covering the jacket, Angel’s Trumpets, adorns the fabric with bright yellow flowers intermingling with green stems, almost floating off the canvas.

Milbrath’s painting was transformed into embroidery, lending the collection an extended textural complexity. The iconic piece of clothing crosses the boundaries of art and fashion, as Milbrath told Teen Vogue, “It makes sense that there was such a limited run of the jackets since each one was embroidered by hand by the brand, the details are staggering” (Dooley, 2019).

Rev olu tion

35

Fall 2020 witnessed another glimpse of Fauvism in Alexandra O’Neill’s Markarian collection for Vogue. “The palette of her taffeta dresses and crystal-trimmed gowns could have been lifted from a Matisse painting” said Emily Farra, a senior fashion news writer for Vogue (Farra, 2020).

Young women have embraced O’Neill’s flamboyant party dresses in the collection, deeming them triumphant over the viciously rapid trend cycles seen today. With their bold red and pink hues, it’s no surprise that customers wear the dresses at weddings, holiday parties, and uptown soirées, highlighting both O’Neill’s work and her homage to Fauvism (Farra, 2020). This collection of reds and pinks exhibits a Fauvist nature reminiscent of Matisse’s paintings depicting boldly-colored figures embracing one another in moments of high emotion.

Expressing emotion through a variety of colors remained prevalent in the South African clothing line The Bam Collective. Basing their 2022 collection on the movement, “Fauvism” incorporated a vibrant palette of yellows, pinks, and blues, emphasizing specific body parts while completely disregarding others (King, 2022). For The Bam Collective, it was essential to create a collection that strayed from traditional commercial clothing and instead encouraged

36

freedom and happiness of the body.

Bright pink and yellow statement jackets, worn over simple black and white undergarments, were highlighted on the runway, giving the jackets prominence over the sleek silhouettes. Unmistakingly characteristic of the movement, Fauvist qualities of intensity were seen in the collection’s cunning blue dresses that challenged the relationship between fashion’s conventional relationship with the body. According to the brand, the collection was created from emotion rather than logic (King, 2022).

37

38

Fauvism embodies an expressive statement that goes beyond the traditional perceptions of thinking. It rejects the natural world while embellishing existing colors to use them in a new way – the Fauvist way. As if “charges of dynamite,” the colors fuel an entirely new perception of art (André Derain, n.d.). A movement that transcends art and fashion, Fauvism’s manifestation in runway shows allows art to become wearable apparel that society can enjoy.

39

DOES FASHION IMITATE LIFE? I

Madeline Jankowski

rish poet and playwright Oscar Wilde posed the infamous quandary in 1889: does life imitate art, or does art imitate life? From 1960s feminism to the presentday billionaires’ space race, sociocultural and political movements reveal that the answer to this question is clear. The artful expression of our dress is a derivative of the complex, intricate society in which we inhabit and consequentially embody through clothing.

With the introduction of the birth control pill in the early 1960s, enigmatic feminists demanded sexual freedom, questioning their absence in politics, the workplace, and other male-dominated spaces (History. com Editors, 2010). These progressive outcries left a fashion footprint, resulting in a rise in hemlines, increased navel exposure, and the rejection of the bra (The Fashion of the Hippie Culture, 2021). Amidst the backlash of the exponential adoption of liberal values, activist artists like Barbara Kruger illustrated sentiments empowering women and reinforcing their frustration over gender inequality (Roberts, n.d.).

40

41

Present-day fashion design renders the same qualities of protest. CHNGE, a sustainable clothing brand devoted to social and environmental justice, exemplifies these values in a noteworthy “Women Don’t Owe You Shit” tee.

Advocacy apparel emerged in response to the injustices suffered by countless marginalized groups, yet, feminist thought has permeated fashion in subtler ways as well. Colliding with counterculture, hippies joined to act out against misogynistic conservatism and other pertinent social controversies. At the start of the 1970s, the hippies loosened their grip on American values through the comprehensive nonacceptance of the Vietnam War, American suburbia, segregation, and gender roles, all of which literally loosened the fit of the counterculture’s attire. The shapeless profile became a metaphor for the political, social, and economic discourse.

A mere 20 years after these movements, advances in television and music

connected artists with consumers at an unstoppable pace, shifting style towards streetwear and sneakerhead culture in the 1990s. Before becoming a fashion piece, sneakers were an essential part of athleticwear in professional basketball.

When Adidas collaborated with RUN-DMC for the 1986 “My Adidas” campaign, sneakers grew to be a starlit symbol of hip-hop (Mellery-Pratt, 2014).

The simultaneous launch of MTV multiplied the cultural significance of sneakers as exposure to rap music was higher than ever before (Cridland, 2019). Admiration for Nike’s Air Jordan and Air Force 1 models is a fashion-sourced response to the recognition of hiphop and Black culture in media, reflecting the zeitgeist of the 1990s in America.

With the growing intensity of the climate crisis in recent decades, some scientists have looked to space for a solution, focusing their efforts on colonizing Mars. Entrepreneurial magnates Jeff Bezos and Elon Musk

When the world speaks, fashion responds

42

43

44

have been competing for first place in the race to the Red Planet for over 15 years through their respective aerospace companies, Blue Origin and SpaceX. As they inch closer to their celestial endgame, the fashion world begins to respond.

It is no surprise that the contemporary fashion themes emerging from the marathon to Mars mimic the styles of the original space race in the 1960s. The famous mini skirt, pioneered by Mary Quant in 1964, remains a wardrobe staple today (Dacre, 2021). Meanwhile, the increasing use of chrome textiles and 3D printing mechanisms amplifies space technology’s influence. More evidence of this extraterrestrial invasion can be seen in the resurgence of a renowned shoe that entered the world of fashion following the Apollo 11 moon landing of 1969. Originally invented as après-ski wear, the distinct Moon Boot made a comeback in streetwear for the fall and winter seasons.

These trends do not stop at the streets – high fashion acknowledges the cosmic acculturation as well. Dolce & Gabbana’s Spring/Summer 2023 collection features metallics and vinyl resembling the mechanical aesthetics of outer space (Phelps, 2022). Similarly, the Dior Men Pre-Fall 2023 collection features models holding space helmets and wearing designs mimicking the stars and galaxies (Mower, 2022). The billowy, chiffon layers eminent in many of the catalog’s looks simulate a zero-gravity zone due to the textile’s high mobility and loose structure.

The common denominator of these ultramodern fashion influences is that it’s unlikely these trends would exist in the absence of change. Society reforms. Fashion reflects.

One of the many fascinating details about trending fashion is how nearly it is wedded to societal events. Through this evaluation, it is understandable that when the world speaks, fashion responds.

45

46

g

global

arments Petra Culbertson

The Cultures Behind Modern Art & Fashion

I

nnumerable cultures around the world cherish distinctive art patterns, prints, and images deeply rooted in their specific traditions and history. Often representative of their culture’s traditional clothing, these works of art allow artistic creators to draw inspiration from and express in other art forms historically rich and emboldened ways to keep culture alive.

47

CUBISM Asian and African regions incorporate traditional artistic elements into their clothing, directly influencing modern and abstract art seen today.

Cubism is a widely recognizable genre, characterized by sharp, flat shapes, forming optical illusions and thought-provoking works (Randall, 2019).

Modern art, particularly Cubism, is known to take influence from

48

the style of African art. Icon Pablo Picasso was one of many to turn to African traditional art as inspiration for his personal work. The African mask sparked Picasso’s imagination, serving as a vessel of cultural art and sculpting handwork, an indelible part of authentic, functional African dress. This wearable art impacted Cubism through its intricate geometric lines and shapes visible in African dress patterns (Sanmiguel, 2020).

49

An intersectional pipeline of cultural traditions from antiquity to novelty

50

T

he historic prints and imagery of Asian art and fashion gave rise to the further establishment of modern art. Traditional Chinese artwork reflects societal desires and values, such as luck, good harvest, and peacefulness through the use of allegorical symbols. Historically, these Chinese patterns, in both artistic works and clothing, involved brightly-colored and distinguishably-structured elements like dragons, birds, and blossoming tree vines. In early Chinese art, women were depicted in traditional, customary clothing featuring the dramatic tunics, stiff collars, and exceptionally wide sleeves illustrated in Chinese artwork (Lai, 2018). Guo Pei, a famous haute couture designer from Beijing, used Chinese artistry in contemporary clothing, most notably seen in the intricately-embroidered yellow cape worn by Rihanna at the 2015 “China: Through the Looking Glass” Met Gala

(Tashjian, 2015). Due to the detailing and artistry poured into Guo Pei’s couture work, many of her pieces are now on display in museums beyond both ancient and modern Chinese art spaces (Law, 2022).

East Asian religions like Zen Buddhism demonstrate significant influence on modern art and fashion. Zen's emphasis on simplicity, stillness, and mindfulness inspired many designers to build collections reflecting these values.

Japanese designer Yohji Yamamoto, known for his minimalist aesthetic, utilizes Zen concepts and negative space (Bannerman, 2018). His designs often feature simple silhouettes and neutral colors, evoking a sense of calmness and serenity (Mears, n.d.). Comparatively, Japanese designer Issey Miyake’s work reflects an influence of the Zen philosophy of wabi-sabi, which emphasizes the beauty of imperfection and transience (Laryea, 2022). Often incorporating natural materials and textures, his designs are never devoid of pleats, generating a sense of movement and flow in his collections (Suliman & Inuma, 2022).

As the runway perpetually references and reinvents apparel from various time periods and continents, so too does visual art deftly merge historicity into modernity.

The history of modern art is vital to understanding its cultural influences and impacts, regardless of the medium.

Contextualizing artistic development over time emphasizes the longevity of cultural traditions and expressions. Long-standing customs linger in the fabric of today's garments, always alluding in both ideals and imagery to an intersectional pipeline of cultural traditions from antiquity to novelty.

52

SILHOUETTES OF THE SUN PHOTOGRAPHY AMAL SUPARIWALA, EMILY CUMMINGS, JACK CASEY, SHEENA DEEPAK. STYLING SCOTLAND GEURINK, JORDAN LONG. STYLING ASSISTANTS CATHERINE GRACE SIGMAN, DELANEY DENTON, GIANNA UVARI, SOPHIA BRADLEY. HAIR AND MAKEUP ANNABELLE MARSHALL, JULIA O’NEAL, LUCY MARSHALL, RACHAEL LALOR. MODELS CAITLYN SURDYKOWSKI, CHLOE SENTER, RACHAEL LALOR, RYAN O’DONNELL, SYDNEY FOGARTY.

53

FORCES of REACTION Catherine Grace Sigman

N

ewton’s third law of motion: Every action has an equal and opposite reaction. Lean too far left, you end up right. Brace for the recoil.

The maxims ring true. Art Nouveau arose as a reaction to the staunch formality of fine arts, emphasizing applied artwork like fashion and architecture. It was never intended to eclipse the work of classical masters – it sought totality, Gesamtkunstwerk, an art form that could pervade museums

54

and kitchens alike (Gontar, 2006). The goal was a sense of union between the realm of ornamental crafts and traditional art media.

The human inclination to resist stasis, coupled with a transforming social context, produced a rebellion that celebrated ornate beauty and historicity for decades. In the late 19th century, the stark contrast and realism of Neoclassicism rapidly gave way to whimsical, sinuous line work and

movement (Gontar, 2006).

In the 1880s, the first known use of the term “art nouveau” appeared in the Belgian journal L’Art Moderne to describe the new style of “Les XX,” an exclusive society of 20 artists in Brussels (Europeana, n.d.).

The pioneers lifted inspiration from Ukiyo-e, a Japanese movement of woodblock prints featuring the female form, folktales, and fauna and flora (Kushwaha and Srivastava, 2021). Soon,

the antiquities expanded to include Greek and Roman mythology with a shared emphasis on universal and natural themes (Gontar, 2006).

The conventions of Les XX were simple: to protest the standards of neoclassicism, to revive the mysticism of antiquity, and to embrace nature and femininity (Kushwaha and Srivastava, 2021).

Until World War I, the movement swept Europe like wildfire (Europeana, 55

n.d.). Short and explosive careers emerged – from painters to architects, the movement encompassed every creative discipline imaginable. Across Europe, artists were rebelling against the strictures of neoclassicism.

Gustav Klimpt entered the scene as one of the era’s most recognized painters.

As president of the Austrian Secession art group, his sensual pieces exemplified the natural eroticism of the movement (Wolfe, n.d.).

Art Nouveau’s rebellion spilled out, leaking into the world of couture In Italy, designer Mariano Fortuny was undertaking a four-decade process of perfecting his “Delphos” gown (FIDM Museum, 2011). At first considered unacceptable to wear outside of the home, the gown gained traction as the first wave of feminism and World War I simultaneously raged on (FIDM Museum, 2011). The restrictive corsets, illusory bustles, and flared crinoline of the late Victorian era faded in exchange for intimately fluid garments (FIDM Museum, 2011).

Beyond their oppositional nature, Art 56

Nouveau crafts also encapsulated motifs mirroring the movement.

Fortuny relied on ancient Greek iconography to create a sleek silhouette while modernizing the ancient Roman pleat, crafting an iconic micro-pleated silk garment with a slinky drape. He displayed the woman’s natural shape rather than masking it. The sparingly ornamental glass beads and pearls add feminine details while retaining a sense of antiquity (FIDM Museum, 2011).

Several of the iterations were complete with hand-dyed sashes featuring geometric prints inspired by ancient Greek and Roman artwork. Fittingly, its namesake is the Greek god Apollo’s son.

While Fortuny tinkered away at generation after generation of his Delphos gown in Italy, bombshells razed towns and trenches devoured the French countryside. Art Nouveau’s rebellion spilled out, leaking into the world of couture. It was only a matter of time before gilded details, organic silhouettes, and botanical prints made their way to the likes of Paul Poiret (Koda, 2008).

French designer and artist Paul Poiret is, perhaps, the epitome of fashion associated with Art Nouveau. His work acknowledged Eastern influence rather than Western antiquities – he was the first notable European couturier to bring lampshade tunics and harem trousers to Western audiences (Koda, 2008). These twisted, organic silhouettes were adorned with gold and beading and, after 1906, notably lacking corsets or petticoats.

W

hat does this avant-garde sentiment look like in the world of contemporary fashion?

The shift toward influencer culture and ultra-fast fashion has indubitably accelerated the trend cycle. In response, a burgeoning slow-fashion movement has arisen in resistance. The heart of Art Nouveau and the slow fashion movement have undeniable parallels. Subscribers to either would emphasize that the bottom line prioritizes the sanctity of craftsmanship and the celebration of the natural environment.

The visual conventions of Art Nouveau are iconic, but it is the oppositional force catalyzing the movement that makes it timeless. Since the dawn of fashion, upheavals and protests have proved Sir Isaac Newton correct: every action does have an equal and opposite reaction.

57

The Art of the Body

Evelyn Krakovski 58

O

ur bodies provide us with the basics – health, thought, and the physicality of being. We allow ourselves to survive by thinking about what to eat, when to sleep, and what tasks we need to accomplish to feel accepted within society. However, artists utilize their bodies in the most beautiful way: to make art. Historically, bodies have been covered up out of respect, in fear of promiscuity. Despite this, nudity was nonetheless used in art to represent objectivity.

Over the span of several decades, the art community changed this perspective, presenting the beauty in bodies through various forms of creative work. Rather than shaming, artists encourage the welcoming of bodies within art while using the human form as a medium for expression.

In history, many profound artists created work entailing women in the nude. Looking at these artworks

59

today, we analyze, acknowledge, and learn from the story behind them. A common theme of classical art is the objectification of women, primarily through the male gaze (Burk, n.d.).

A well-known pose in many of these works is titled “Venus Pudica,” in which a naked woman is seen sitting or standing with one hand covering an area of the body (Burk, n.d.). This pose emphasizes the area being covered, seizing the audience’s gaze. These artworks utilize female-oriented themes, including fertility, morality, beauty, and virtue, apprehending gender norms.

Surprisingly, the body in ancient Greece is celebrated with particular attention on the male body, viewed as the human ideal (Burk, n.d.). These bodies are muscular, toned, and commemorated for triumph and glory. Yet, in almost every other area of the world, the naked body is associated with dishonor and shame.

Time evolved, art developed, and meanings behind the body progressed.

Art performance has become a sensation in all communities, expressed through canvas, dance, and even fashion. Women have been able to take back power over their bodies in many ways, claiming their reproductive rights, sexuality, and position in society. Many artists have managed to cause catalytic social changes through fashion performances of art.

Leigh Bowery, a memorable performance artist, is known for dressing in a sartorial

60

and aesthetic design, employing provocative and avant-garde themes and walking them down the street (Rooney, n.d.). He shocked communities, which was exactly the point – to disrupt social order. Bowery employed his own body to influence hundreds of communities, all while impacting social and popular culture.

Alexander McQueen, a renowned fashion designer, made dazzling productions through his designs, leaving the audience in awe. One of his most notable works was a show in 1999 influenced by the Arts and Crafts movement via technology (Bateman, 2016). Styled in a white dress, Shalom Harlow was the center of attention on the runway (Bateman, 2016). Harlow rotated on a wooden platform while two industrial robots spray painted her virginal dress yellow and black. In this performance, McQueen u t i l i z e d Harlow’s delicate, bal lerina-like

frame to create dramatic scenery while the audience sat in wonder.

The robots, structures of foreign specimens, only served to make the body an even more majestic formation.

Bodies are diverse and beautiful forms. As humans, we have our own will and control, choosing to present our bodies through different

performances. Through fashion, artists take pride in utilizing fabric and design to showcase artwork through clothing and its intricate interactions with the body. Even when nude, women have shown skin in the most empowering of ways, expressing personality, confidence, and overall beauty without objectification.

61

62

THE BLUEPRINT Drawing Lines From Art Nouveau Architecture to Fashion

The bones that build some of born as an architectural movement, represented the the most iconic, high-fashion beautifully transition into a new century.

Quite innovations from the current modernist movements stem from literally meaning “New Art,” the the opulent roots of structural style revolved around the natural design throughout history. world and the way it grows and Architecture and fashion have moves (Art in Context, 2021).

Floral detailing, always been pillars organic shapes and of artistic creation; lines, unconfining they serve as materials, and cultural markers Lily Baldwin shimmering metallic in humankind’s adornments graced timeline that allow the architectural us to reflect and designs of buildings draw meaning from — and later, clothing changing styles. All — across Europe. forms of art feed off of and into Turn-of-the-century architecture one another, but architecture and fashion share a special relationship and fashion revolved around the that involves careful attention to lushness of humanity, represented by decorative additions embedded form and patterns.

The Art Nouveau period, initially in the curving stonework and

63

64

rounded edges. Colors plucked straight from a wildflower garden were emblazoned on both stained glass windows and long bell skirts.

Flowy lines and lighter fabrics like silk and lace fell in easy waterfalls over the shoulders of those who were bold enough to wear such a look.

Barcelona’s Park Güell and La Sagrada Familia are two ethereal beacons of Art Nouveau; the a rc h i t e c t u re, c r e a t e d by Antoni Gaudí, blends gracefully into the e nvi ro n m e n t with soft lines that makes the stone appear naturally eroded by ocean waves (Park Güell Origin and Creation, n.d.). Decorative columns and podiums display regal lions, peacocks, and dragonflies.

Simultaneously, Spanish designer Mariano Fortuny was crafting highly-detailed garments with elegant, floor-length hems that grazed the ground just lightly enough to curve upwards like an inverted blossoming flower

(The Costume Institute, n.d.). He, too, worked with textures that reflected plants and wildlife, like the underside of a mushroom, falling rain, and the crinkled skin of a withering white lily.

The most visually enchanting example of Art Nouveau fashion can be found in the magazine illustrations of the time. Before photography was easily accessible, posters for world fairs and other printed materials were a form of social media.

These prints are largely responsible for the spread of Art Nouveau throughout Europe and beyond (Rosenman, 2017). The designs are an iconic homage to mother nature’s role in human life.

Celestial and botanical influences in the illustrations depict each drawn subject as an angelic figure, calling to mind a flourishing garden or the interior of an old Catholic church on a lucent day. The draping fabrics appear to be traced straight from the ceiling of the Sistine Chapel.

A myriad of golden bijouterie

65

Intricate details in haute couture evoke the curiosity of any onlooker. In a time when drawing attention to oneself through fashion went against the traditions of the period, it was daring to be seen. Yet, that was the ultimate goal of Art Nouveau designers; to make you look, and even more, to help you see the world and appreciate its innate elegance. Fashion designers used soft silhouettes to honor the feminine human form while billowy textiles created a dream-like motion that made the wearer appear as if they were floating (Reddy, 2019). The meandering lines of the body were accentuated with dripping, golden-gilded accessories from head-to-toe, transforming models into mosaics. The same texture and saturation is present in many Parisian buildings and structures in Budapest (Peregoy, 2016).

Art Nouveau design wasn’t complete without a myriad of golden bijouterie. Gold and glass were often the final touches for an Art Nouveau design. A ruffled sleeve and exposed shoulder were not enough for artists who wanted to celebrate the ornate aspects of life. Drawing from the luxury couture trends of the Victorian age, stained Tiffany glass was the most coveted item for architects and fashion creators alike in the early 1900s (Reinke, 2020).

Whether it was a brooch or a desk lamp, the brand’s handcrafted, gem-hued crystal embellishments refracted light and illuminated entire rooms. With clothing and furniture emanating their own luminescence, glass further incorporated natural elements into the foundation of art and fashion during this era.

Art Nouveau is still ever-present, even on today’s runways.

Alexander McQueen’s Pre-Fall 2020 collection was inspired by the movement, utilizing climbing vines and glittering crystals on many of the garments. The fashion house emphasized “the juxtaposition between sobriety and seduction, the raw and the refined,” (AnOther, 2020). Just as Art Nouveau dances the line between simplicity and grandeur, so do modern fashion designers.

More than anything, the persistence of this period reveals how art infiltrates every part of daily life, from the clothes worn to the buildings resided within.

66

67

Reality, REJECTED PHOTOGRAPHY EMILY CUMMINGS, JACK CASEY. STYLING SCOTLAND GEURINK, JORDAN LONG, JEY SIRMANS. STYLING ASSISTANTS CATHERINE GRACE SIGMAN, DELANEY DENTON, GIANNA UVARI, JACK CAPELL, KATIE EMBRY, LAUREN ROUSH. HAIR AND MAKEUP ANNABELLE MARSHALL, JULIA O’NEAL, LUCY MARSHALL. MODELS ELLIE ERWIN, JACK CAPELL, MARIANA PULIDO. 68

69

C

70

Zoey Stephens

lara Perlmutter stands in her New York apartment in front of a rack full of eclectic clothing.

She styles an outfit abundant with pinks and purples, the centerpiece of which is a fluffy purple…. skirt?

The clothing article seems dystopian in its abstraction, made of wildly shaped tulle and geometric cutouts.

Her instagram comment section is a battlefield of bafflement. “Not the thneed,” writes one Instagram user; another says, “Your style reminds me of a toddler dressing themselves for the first time.” (Perlmutter, 2022). Perlmutter is no stranger to comments like these since she first began sharing her personal style online under the social media handle @tinyjewishgirl.

Although Perlmutter might not agree, her style seems to break the unspoken rules of fashion. The polarizing effect her style has on her viewers mostly stems from bold mixes of bright colors, eccentric silhouettes, and the occasionally

incomprehensible statement piece expected in an editorial spread rather than someone’s everyday wardrobe.

High fashion is not something commonly seen off the runway, yet Perlmutter incorporates a great deal of it into her everyday outfits. Her style is rife with designer apparel from Chloé and Jean Paul Gaultier to Marc Jacobs. Her daily wardrobe also consists of outlandish pieces from smaller, independent designers, which, without the credibility of bigger brand names, tend to fall under fire like her so-called “thneed.”

The offending garment in question, aptly called a “fluff”, is a piece from designer Stephanie Uhart. Uhart began crafting her editorial fluff aesthetic during the COVID-19 pandemic, intending the designs to reflect her internal emotional state.

In an interview with 1Granary, she states she first thought she would become an artist before settling on fashion design (Lots Of Likes But No Cash: Can Young Avant-Garde

CONVENTION Designers Pay The Rent?, 2022).

Her background in physical artwork is manifested through her designs, which she refers to as wearable sculptures. Uhart is a fitting example of the intrinsic linkages between the art world and the fashion industry, many of which coincide with the emergence of abstract art itself.

Abstract art is a defining characteristic of the modernist movement which began in the early 20th century (Flower, 2022). Marking a deviation from traditional forms of art that were beginning to seem outdated in the industrialized world, the movement shifted focus to forms of expression that reflected a growing sense of self awareness. Characteristic of a society that was constantly

changing, the movement saw fashion designers being taken more seriously as artists (Wallenberg & Kollnitz, 2019). Fashion became a medium for art rather than just functional clothing. The fashion world of today is constantly changing and evolving, never growing too stagnant with its designs and inspirations.

That world w o u l d n ’ t exist without designers combining the new and unusual in art with the ever present medium of fabric.

Uhart wouldn’t be able to manufacture her fluffs for editorial use had it not been for earlier designers like Yves Saint Laurent integrating actual works of abstract art into their clothing designs. Think red, blue, and yellow colorblock abstracted by Piet Mondrian and

71

ART

AND

FASHION HAVE COEXISTED THIS

IN

ARTISTIC

P U S H

AND

PULL, BLURRING THE

LINES

BETWEEN

THE

TWO MEDIUMS IN A WAY THAT B E A U T I F U L LY REFLECTS

THE

NATURE

OF

A B S T R AC T ART

AND

THE

MODERNIST MOV E M E N T ITSELF 72

crafted onto the iconic YSL shift dress of the 1960s.

Saint Laurent took the unreality of art and attached a new meaning to the abstract by making it wearable (Millar, 2021).

Earlier, Elsa Schiaparelli collaborated with surrealist artist Salvador Dali in 1937 to create the iconic “lobster dress”, an A-Line silk gown featuring a hand painted lobster (Polyzoidou, 2021). The first in a series of collaborations between the two artists, the partnership also featured a dress formed to represent the human skeleton and a shoe hat – exactly what it sounds like. These early collaborations helped solidify fashion designers as artists as well as integrate traditional artists and artwork into the industry.

These designs, a defining characteristic of high fashion in the 60s and 70s, were not afraid to break the rules and go against the norm of the time. Isn’t that what fashion is all about? Ever changing in innovation — whether it be in print, structure, or form — the fashion industry is incessantly looking for newness and transformation. Even if a collection isn’t considered “abstract” in its design, it still utilizes the basic principles of the

modernist movement. Art and fashion have coexisted in this artistic push and pull, blurring the lines between the two mediums in a way that beautifully reflects the nature of abstract art and the modernist movement itself – a rejection of what is expected, taking what society deems useful and right and turning it on its head.

Despite its major influence on the fashion industry, it’s common to hear criticism of abstract art from the masses, typically along the lines of “I don’t get it” or “How is this art?” This criticism is present in response to Perlmutter’s purple fluff — and the majority of her wardrobe. These statements and reactions are echoed time and time again by those unfamiliar to high fashion. Despite the criticism, Perlmutter’s comment section has garnered positivity over time, analogous to how abstract art has become more comfortably situated in the art world.

In a renaissance of modernity, art unites high fashion with abstraction, bridging the gap between both industries and understandings.

73

THE

COMPUTED CONTEMPORARY MADELINE JANKOWSKI

A

t the intersection of technology and fashion, luminaries such as Iris van Herpen, Julia Koerner, and Noa Raviv are reprogramming the aesthetic of ultramodern couture.

These design geniuses are no strangers to innovation, and through their architectural backgrounds, commitment to sustainability, and unparalleled artistic lenses, their works are collectively lauded as manufactured manifestations of contemporary art. Through the trailblazing and cutting-edge crafts born by these women, the world of modern abstraction is redefined and the limitations of traditional fashion design are challenged.

Instantly recognizable in the discussion of technologically-generated couture is Iris van Herpen. The Dutch artist worked alongside designers like Alexander McQueen, attaining knowledge of the industry while curating her own individual aesthetic on the way to

74

launching her brand in 2007. She continued to build her artistic expertise through collaborations with architects to strengthen her knowledge of textile development. Today, her au courant approach to fashion and the construction of couture provokes the senses while challenging the stipulations of physical design. Through the use of modern 3D printing mechanics, van Herpen’s designs demonstrate recurrent themes of femininity and sustainability while embodying the mystery and disorder of nature. At the recent Vanity Fair Oscars afterparty, actress Zooey Deschanel arrived in an Iris Van Herpen haute couture dress. The strapless ensemble shimmered through periwinkle and ivory colorways, and the elusive curves and points of the garment transformed Deschanel's figure into the shape of a lotus flower. The star told Instagram, "Thank you @irisvanherpen for making me feel like an art piece" (Deschanel,

2023). The multidisciplinary elements in van Herpen’s creations not only influence our understanding of art and design’s contemporality but also bend our perception of the contemporary’s permeation into reality.

Like Iris van Herpen, Austria-born

Julia Koerner similarly revolutionized her computation of fashion, working proactively in architectural and textile sustainability (Koerner, n.d.). The discussion of sustainability in fashion is a relatively new consideration in the design process, yet her diligence and 75

76

commitment to this value has been a segway to one of her biggest achievements in the fashion industry today – her collaboration with Ruth Carter as a costume designer for Black Panther. In the collection of films, she marries the crystallinity of an innovative, advanced society to the traditions of African tribal culture – a paradigm of the past and future (Koerner, 2018). A clear emphasis on symmetry and perfection is visible in Koerner’s designs, including Queen Ramoda’s Zulu Hat and Shoulder Mantle.

These visual, serviceable tapestries create a compelling juxtaposition to conventional haute couture that the

The world of modern abstraction is redefined and the limitations of traditional fashion design are challenged fashion realm is familiar with today.

Through innovations in technology, the intricacies of handmade apparel are translated into algorithmically-generated clothing. This approach to craftsmanship, along with the increasing importance of imperishable fashion, is devising an artistic revolution – the computed contemporary.

Noa Raviv, a notable 3D printing designer, takes a different approach to the complexity of avant-garde conception.

This bright-minded, revolutionary creator asserted her place on the Forbes Israel “30 Under 30” list in recognition

of her exceptional strides in the design industry. Her art often revolves around an oxymoron, drawing a thought-provoking parallel between two opposing themes of purity and imperfection. In Hard Copy, one of her most famous collections, she created an algorithm in which a 3D printer manufactured pieces with intentional errors, mimicking the effect of a technological glitch. She utilized machinery known for its accuracy and, through her masterful manipulation, created designs with calculated corruption (Howarth, 2014). Here, the intentional intricacy of imperfection makes for an enthralling comparison to the enunciated and pristine design inspirations of Julia Koerner. However, these contrasting interpretations are precisely the beauty in wearable constructions of art.

“Contemporary,” as an umbrella term, not only considers the dynamism of design techniques, but also accounts for new developments in sociocultural, economic, and environmental realms. These three ingenious women have made significant advancements in the fashion sphere by integrating a variety of disciplines, adding flexibility and heterogeneity to the meaning of “contemporary.” Their artwork effortlessly blends the structural integrity of architecture with the necessity of environmental preservation while sustaining their unique stylistic continuity. Each artist’s expression contributes to the shifting trajectory of the contemporary’s role in wearable art, promoting the continuation of innovative design in fashion for years to come.

77

78

79

Sarah Landmesser

Q&A Portrait of a Student Artist An interview with Sarah Landmesser by Evelyn Krakovski.

Photography by Angelica Millen.

C

reativity and innovation go hand in hand within the realm of art.

Artists utilize many directions when expressing themselves in their pieces.

Art is fashion and vice versa.

Both artists and designers understand the importance of expressing their views, thoughts, and personality, all of which manifest through a physical form.

The output is produced in thousands of

80

ways, including through the impressive manipulation and beauty of a fabric.

Sarah Landmesser, a senior student artist and fabric designer at the University of Georgia, is double majoring in marketing and studio art with an emphasis in fabric design.

Utilizing beautiful and vibrant colors, Landmesser creates unique designs through a plethora of mediums,

including children’s clothing, furniture, and even carpets. The femininity in her artwork not only allows her to present beautiful collections to her audience but also to empower women. From themes of 1960s Hollywood cinema 1970s Lilly Pulitzer prints to the French New Wave, she expresses her artistic thought in both textile design and fine art.

Landmesser welcomes a creative space for all where the audience can fully immerse themselves in colorful creations. She uses beautifully bold colors to represent her true self. To Landmesser, fashion comes from art, and art comes from fashion. She utilizes inspiration from both spheres to create exceptional collections, all for the pure enjoyment of spreading innovative creativity around the world.

Once Upon a Time Intuitively Speaking

Where are you from, and how does that affect your work?

I’m from Greenville, South Carolina.

In a large sense, being from the South, I think that affects my color palette.

I think about Charleston with all the bright colors growing up. Some of that is very southern – I don’t want to say sorority because I am not in a sorority and don’t really identify with that label – but some have that color scheme.

I’m very inspired by 70s Lilly Pulitzer, and I think that some of that really affects my work in terms of having 81

a love for color and the landscape.

Greenville, South Carolina, also has just an amazing art scene. It’s similar to Athens. I went to an arts high school, which was amazing. I’ve always felt that could be a really valid career path.

How does Athens impact your work?

The art school is such a big community for me, and being constantly surrounded by other artists has had a big impact on my work. In my cohort within fabric design, there are five of us graduating in May, so I’m always around them.

We did a project in the fall where we had to do a piece inspired by each of our four classmates. A bunch of them use totally different color palettes than me, and two of them use text a lot more often than me. Since doing a piece inspired by their use of text, almost all of my work uses that element. Being in a larger community and looking at what other people are making has definitely affected my work.

Can you describe your creative process? Where do you get your inspiration?

With my abstract paintings, I start those mainly as a sketch. I try to do a daily drawing or painting every single day as a promise to myself that I will do something creative and make a mark on a page. I have had a professor tell me that artists spend 90% of their career sitting around, waiting for a perfect idea, but 82

the best thing to do is to still be working during that time. Even if you don’t make anything exceptional, just make one singular mark on a painting every single day. So, when you get the idea, you’re ready, and you’ve been in practice.

Sometimes, I use my iPad on Procreate – my larger paintings normally come from that. I pull what I like or what was successful from it. I also occasionally do figurative work, using the human form as a reference, whether it’s realistic or abstract. I’ve been very into form and movement, whether it be dance, yoga, or pilates.

Who or what are your biggest inspirations?

I have a huge book of Joan Mitchell, who is one of my favorite abstract female painters. I have been looking at the book for my paintings. I’ve found that I never run out of inspiration if I am working every day – an idea always comes up.

Sometimes, I pull trends from Pinterest, then create pattern collections.

What is your favorite medium and why?

Right now, it is painting, but it changes so often for me. I love textiles as a whole, and how things translate to wovens, but right now I am burnt out on the process of weaving. It is beautiful, but it is tedious. However, I love the looseness and expressive qualities in my paintings versus the tight, concrete lines in textiles.

Close-up: Once Upon a Time What is your most meaningful piece?

was thinking about my mom as a breast cancer survivor, and her relationship with pink.

I have it hanging on my wall, called Once Every October, she would be Upon a Time. I painted it as part of a overwhelmed with the color. She show in the fall called Pretty in Pink. For never really identified with being a that one specifically, I wanted to think cancer survivor, so I have really distinct about my own relationship with pink. I memories of that being a difficult time 83

for her. There is a poem written in the painting that you don’t see at first glance, but when you walk up closer to it, it is a powerful neon explosion of pink.

woman’s intuition. In the fall, I looked into how men as painters were seen as intellectuals, but how it wasn’t the same relationship with women.

I also read a book that examined all of Does art help you in other these different artists, some of which areas of your life? were more heteronormative than others, and it was interesting to me how It is very meditative and healing. I wish they saw their own gender playing a role I could make everyone learn how to in how they saw themselves as an artist. knit, crochet, embroider, or something you can do with your hands mindlessly. Does fashion influence your These days, TikTok fills that need and art? the anxious energy in your hands. I think we all have the desire to use our All the time. I look at high fashion and hands like children where you can color, see what I love there, especially with paint, or even play with Play-Doh. creating patterns. Color-wise, I love seeing what comes out of fashion in Do you see yourself terms of colors, like when looking at continuing this art style the Met Gala. I love to look at PatBO for the entirety of your art and its prints. Same thing with Never career?

Fully Dressed – most of their prints are designed in-house, and they’re all so I think it will always be fluctuating unique and powerful. between a balance of painting, pottery, In Cortona, [Italy], I got to see a show and textiles. With pottery, I love the about Wanda Ferragamo, and it was glazes, carvings, and creating the about the different women throughout surface. Same thing with painting and the brand, as well as women’s roles. textiles – creating the surface.

My personal fashion is one half clothes for painting and the other half bold How would you say the colors, which is similar to my work. abstract movement has However, I also love all-black – there is impacted your art? something so nice about the look.

The abstract movement is very maledominated. Part of my process of being inspired was taking the time to do research and dive into the women in the movement. I started to think about femininity in my work and a 84

Have you ever incorporated your art into everyday clothing?

I’ve been in a phase where I’m starting to turn my paintings into fabric digitally

in patterns of repetition. I see a world where they become apparel one day, but it hasn’t quite happened yet.

What makes a great artist?

What does art mean to you?

Art is authentically expressing myself and the joy in my life, and being able to create a space of joy for other people.*

Someone who thinks about what they are consuming and has a unique voice. *This interview has been lightly edited for Someone who thinks about the process length and clarity. and intent.

Close-up: Valentine’s Day 85

SOURCES FIRST IMPRESSIONS Cardin-Goyer, C. (2021, January 26). The Chanel SS2021 Haute Couture Collection Is Straight Out of a Monet Painting. Elle Canada. Retrieved from https://www.ellecanada.com/fashion/fashion-weeks/the-chanel-ss2021haute-couture-collection-is-straight-out-of-a-monet-painting Encyclopædia Britannica Editors. (2023, February 3). Diane von Furstenberg. Encyclopædia Britannica. Retrieved from https://www.britannica.com/biography/Diane-von-Furstenberg Gersh-Nesic, B. (n.d.). Impressionism, An Introduction. PressBooks. Retrieved from https://pressbooks.pub/ art104/chapter/impressionism/ Impressionism, Fashion, and Modernity. (n.d.). The Metropolitan Museum of Art. Retrieved from https://www. metmuseum.org/exhibitions/listings/2013/impressionism-fashion-modernity Luncheon of the Boating Party. (n.d.). The Phillips Collection. Retrieved from https://www.phillipscollection.org/ collection/luncheon-boating-party Rutkowski, K. (2022, May 16). 26 Impressionist Floral Dresses That Are as Pretty as a Painting. Vogue. Retrieved from https://www.vogue.com/slideshow/impressionist-floral-dresses Talon, K. (2021, March 4). 10 artists who influenced high fashion. NSS G-Club. Retrieved from https://www. nssgclub.com/en/fashion/24961/art-fashion-picasso-monet-ysl TIMELESS, TRIED, AND TRUE Bateman, K. (2022, March 2). Fashion and the Rise of Balletcore. W Magazine. Retrieved from https://www. wmagazine.com/fashion/ballet-fashion-trend-2022 Beghin, C. (2021, April 29). Swan Lake: The secrets behind the world’s most beautiful ballet. Vogue France.

Retrieved from https://www.vogue.fr/fashion-culture/article/swan-lake-the-secrets-behind-the-worlds-mostbeautiful-ballet Bujnosek, B. (2022, April 8). Balletcore Is the Latest Aesthetic to Take the Internet By Storm. Nylon. Retrieved from https://www.nylon.com/fashion/balletcore-aesthetic Goldberg, J. (2022, September 29). Dabble in the Balletcore Trend With These 6 Perfect Outfits. The Zoe Report. Retrieved from https://www.thezoereport.com/fashion/balletcore-trend-2022 Irvine, A. (2022, November 1). The Fascinating History of Swan Lake: Tchaikovsky’s Greatest Ballet. History Hit. Retrieved from https://www.historyhit.com/culture/1877-first-performance-swan-lake/ Mainwaring, M. (2019, May 28). Is Ballet Camp? The New York Times. Retrieved from https://www.nytimes. com/2019/05/28/arts/dance/met-camp-ballet.html “Make it Visceral and Real”: How Tchaikovsky’s Swan Lake influenced fashion and film. (n.d.). Mordents. Retrieved from https://mordents.com/swan-lake-ballet-fashion/ GLIMMERS OF A GILDED ERA Abarrna, D. R. (2017, September). Evolution of French fashion from 16th to 19th century. Fibre2Fashion.

Retrieved from https://www.fibre2fashion.com/industry-article/7981/evolution-of-french-fashion-from-16th-to19th-century#:~:text=Use%20of%20waistcoats%20and%20breeches,and%20a%20neckerchief%20(scarf) Fashion Trends (n.d.). University of Washington University Libraries. Retrieved from https://content.lib.washington.edu/costumehistweb/fashion-trends.html#:~:text=In%20the%201840’s%2C%20soft%20shades,were%20 seen%20in%20the%201850’s Fernandez, C. (2022, May 5). All the hidden details of Blake Lively’s met gala outfit, including a clutch with her children’s initials. Insider. Retrieved from https://www.insider.com/blake-lively-met-gala-look-hidden-details2022-5#blake-lively-took-inspiration-from-the-statue-of-liberty-for-her-met-gala-look-1 Frey, A. (2020, November 11). Cottagecore Debuted 2,300 Years Ago. JSTOR Daily. Retrieved from https://daily. jstor.org/cottagecore-debuted-2300-years-ago/ History.com Editors. (2017, August 3). Impressionism. History Channel. Retrieved from https://www.history. com/topics/art-history/impressionism

86

S

History of Fashion 1840-1900 (n.d.). Victoria and Albert Museum. Retrieved from http://www.vam.ac.uk/ content/articles/h/history-of-fashion-1840-1900/#:~:text=In%20the%201860s%20it%20was,with%20cravats%20 and%20neck%2Dties Rearick, L. (2022, May 2). Billie Eilish Wore The Tightest Corset to the Met Gala. Teen Vogue. Retrieved from https://www.teenvogue.com/story/billie-eilish-met-gala-2022-red-carpet Reggev, K. (2020, October 21). What Exactly Is Cottagecore and How Did It Get So Popular? Architectural Digest. Retrieved from https://www.architecturaldigest.com/story/what-exactly-is-cottagecore Scott, D. (2018, October 31). Impressionist Art Movement – Masters of Light and Color. Draw Paint Academy.

Retrieved from https://drawpaintacademy.com/impressionist-art-movement/#:~:text=Bright%20and%20Bold%20 Color%20Palette,-The%20Impressionists%20were&text=Instead%20of%20using%20blacks%20and,and%20therefore%20more%20visible%20color The Victorian Emporium (2016, January 11). Choosing Victorian paint colours for your refurbished period home.

The Victorian Emporium. Retrieved from https://www.thevictorianemporium.com/publications/advice/article/ choosing-victorian-paint-colours-for-your-refurbished-period-home#:~:text=What%20colour%20paint%20 did%20the,dark%20green%2C%20brown%20and%20blues BACK TO BOLD André Derain. (n.d.). Galerie Boulakia. Retrieved from https://boulakia.gallery/artists/72-andre-derain/overview/ Dooley, T. (2019, June 27). Artist Darby Milbrath Collaborated With Celine on an Embroidered Bomber Jacket.

Teen Vogue. Retrieved from https://www.teenvogue.com/story/darby-milbrath-celine-embroidered-bomber-jacket Farra, E. (2020, February 10). Markarian Fall 2020 Ready-To-Wear. Vogue. Retrieved from https://www.vogue. com/fashion-shows/fall-2020-ready-to-wear/markarian King, I. (2022, August 11). This Vibrant Collection By Fashion Brand The Bam Collective Was Inspired By The Fauvist Art Movement. SatisFashion Uganda. Retrieved from https://satisfashionug.com/this-vibrant-collectionby-fashion-brand-the-bam-collective-was-inspired-by-the-fauvist-art-movement/ Scott, D. (2019, March 15). Fauvism Art Movement. Draw Paint Academy. Retrieved from https://drawpaintacademy.com/fauvism/ Art Analysis: Dance by Henri Matisse. (2019, April 10). Artsper Magazine. Retrieved from https://blog.artsper. com/en/a-closer-look/art-analysis-dance-by-henri-matisse/ DOES FASHION IMITATE LIFE? Cridland, M. (2019, December 21). How Hip Hop Has Influenced the Sneaker Culture Today. 10at10. Retrieved from https://10at10.ca/news/how-hip-hop-has-influenced-the-sneaker-culture-today/ Dacre, K. (2021, October 28). Miniskirt mayhem! Nine ways Mary Quant revolutionised women’s clothes – and lives. The Guardian. Retrieved from https://www.theguardian.com/fashion/2021/oct/28/miniskirt-mayhem-nineways-mary-quant-revolutionised-womens-clothes-and-lives History.com Editors. (2010, February 9). FDA approves “the pill.” HISTORY. Retrieved from https://www.history. com/this-day-in-history/fda-approves-the-pill Mellery-Pratt, R. (2014, July 18). Run-D.M.C.’s ‘My Adidas’ and the Birth of Hip Hop Sneaker Culture. The Business of Fashion. Retrieved from https://www.businessoffashion.com/videos/news-analysis/run-d-m-c-s-adidasbirth-hip-hop-sneaker-culture/ Mower, S. (2022, December 3). Dior Men Pre-Fall 2023 Menswear. Vogue. Retrieved from https://www.vogue. com/fashion-shows/pre-fall-2023-menswear/dior-homme Phelps, N. (2022, September 24). Dolce & Gabbana Spring 2023 Ready-to-Wear. Vogue. Retrieved from https:// www.vogue.com/fashion-shows/spring-2023-ready-to-wear/dolce-gabbana Roberts, J. (n.d.). Artists and Prints: Masterworks from The Museum of Modern Art. Museum of Modern Art. Retrieved from https://www.moma.org/collection/works/73568?sov_referrer=art_term&art_term_slug=feminist-art The Fashion of the Hippie Culture. (2021, July 6). IvyPanda. Retrieved from https://ivypanda.com/essays/the-fashion-of-the-hippie-culture/ GLOBAL GARMENTS: THE CULTURES BEHIND MODERN ART AND FASHION Bannerman, S. L. (2018, October 23). Yohji Yamamoto, the Japanese Designer Who Redefined Avant-Garde Fashion. Culture Trip. Retrieved from https://theculturetrip.com/asia/japan/articles/yohji-yamamoto-the-japanese-designer-who-redefined-avant-garde-fashion/

87

Lai, H. (2018). The Application of Chinese Painting Elements in Modern Fashion Design. 2nd International Conference on Social Sciences, Arts and Humanities. Retrieved from https://webofproceedings.org/proceedings_series/ESSP/SSAH%202018/SSAH_0611156.pdf Laryea, L. (2022, August 12). Goodbye, Issey. THE FALL. Retrieved from https://thefallmag.com/goodbye-issey-miyake/ Law, J. (2022, April 20). Guo Pei’s New Exhibit Puts Chinese Couture on the Map. Jing Daily. Retrieved from https://jingdaily.com/guo-pei-haute-couture-san-francisco/ Mears, P. (n.d.). Yohji Yamamoto. LoveToKnow. Retrieved from https://womens-fashion.lovetoknow.com/fashion-designers/yohji-yamamoto Murrell, D. (2008, April). African Influences in Modern Art. The Metropolitan Museum of Art. Retrieved from https://www.metmuseum.org/toah/hd/aima/hd_aima.htm Randall, K. (2019, October 31). All you need to know about cubism. The Collector. Retrieved from https://www. thecollector.com/everything-you-need-to-know-about-cubism/ Sanmiguel, C. (2020, October 3). African Art: The First Form of Cubism. The Collector. Retrieved from https:// www.thecollector.com/african-art-the-first-form-of-cubism/ Suliman, A., & Inuma, J. M. (2022, August 9). Issey Miyake, designer known as the prince of pleats, dies at 84.

The Washington Post. Retrieved from https://www.washingtonpost.com/world/2022/08/09/japanese-designer-issey-miyake-dead/ Tashjian, R. (2015, May 4). The Story Behind Rihanna’s Red Carpet-Winning Met Gala Dress. Vanity Fair. Retrieved from https://www.vanityfair.com/style/2015/05/story-behind-rihanna-red-carpet-winning-met-gala-dress FORCES OF REACTION Wolfe, S. (n.d.). Art Movement: Art Nouveau. Artland Magazine. Retrieved from https://magazine.artland.com/ art-movement-art-nouveau/ Europeana. (n.d.). Origins of Art Nouveau. Europeana. Retrieved from https://www.europeana.eu/en/exhibitions/ art-nouveau-a-universal-style/origins-of-art-nouveau FIDM Museum (2011). Mariano Fortuny. FIDM Museum. Retrieved from https://fidmmuseum.org/2011/01/mariano-fortuny.html Gontar, C. (2006, October). Heilbrunn Timeline of Art History: Art Nouveau. The Metropolitan Museum of Art. Retrieved from https://www.metmuseum.org/toah/hd/artn/hd_artn.htm Koda, H. (2008, September). Paul Poiret (1879–1944): Essay. The Met’s Heilbrunn Timeline of Art History. The Costume Institute, The Metropolitan Museum of Art. Retrieved from https://www.metmuseum.org/toah/hd/ poir/hd_poir.htm Kushwaha, K., & Srivastava, N. A. (2021). Analytical Study of Implication of Art Nouveau in Designer’s Clothing.

International Journal of Innovation, Creativity and Change, 15(11). Retrieved from https://www.ijicc.net/images/ Vol_15/Iss_11/16249_Kushwaha_2021_E1_R.pdf Shulof, S. (1960). Glittering Forms: The Art Nouveau Jewelry. Art Journal, 20(2), 84–86. Retrieved from https:// doi.org/10.2307/774354 Stoilova, L. (2014). The Symbolism of Decorations in Art Nouveau Style. In Vittore Collina (Ed.), Time and Beauty, 12-18. Retrieved from https://www.academia.edu/10078770/The_Symbolism_of_Decorations_in_Art_ Nouveau_Style THE ART OF THE BODY Bateman, K. (2016, October 3). Show to Know: When Alexander McQueen’s Robots Spray-Painted Shalom Harlow. Allure. Retrieved from https://www.allure.com/story/alexander-mcqueen-shalom-harlow-runway-show Burk, T. (n.d.). Sexuality in Art. Art History Teaching Resources. Retrieved from https://arthistoryteachingresources.org/lessons/sexuality-in-art/ The Body in Art (n.d.). MoMALearning. Retrieved from https://www.moma.org/learn/moma_learning/themes/ investigating-identity/the-body-in-art/ Rooney, C. (n.d.). Fashion & Performativity: Rupturing the Illusion of “Normal”. Glossi Mag. Retrieved from https://glossimag.com/fashion-performativity-rupturing-the-illusion-of-normal/ THE BLUEPRINT: DRAWING LINES FROM ART NOUVEAU ARCHITECTURE TO FASHION AnOther. (2020, June 25). A First Look at Alexander McQueen’s New Art Nouveau-Inspired Collection. AnOther. Retrieved from https://www.anothermag.com/fashion-beauty/12623/alexander-mcqueen-pre-fall-2020-collection-sarah-burton

88

S

Art in Context. (2021, December 16). Art Nouveau Architecture - The Art and Architects of Art Nouveau Buildings. Art in Context. Retrieved from https://artincontext.org/art-nouveau-architecture/ Carleson, N. E. (2018). Art Nouveau Fashion: Giving Dress a Place Among Decorative Arts. Maryland Center for History and Culture. Retrieved from https://www.mdhistory.org/art-nouveau-fashion-giving-dress-a-placeamong-decorative-arts/ The Costume Institute. (n.d.). Fortuny Dress. The Metropolitan Museum of Art. Retrieved from https://www. metmuseum.org/art/collection/search/83312 Gontar, C. (2006, October). Heilbrunn Timeline of Art History: Art Nouveau. The Metropolitan Museum of Art. Retrieved from https://www.metmuseum.org/toah/hd/artn/hd_artn.htm Park Güell Origin and Creation. (n.d.). Park Güell. Retrieved from https://parkguell.barcelona/en/park-guell/origin-and-creation Peregoy, B. (2016, December 27). 5 of the Best Art Nouveau Buildings in Paris. Architectural Digest. Retrieved from https://www.architecturaldigest.com/gallery/art-nouveau-paris?redirectURL=https%3A%2F%2Fwww. architecturaldigest.com%2Fgallery%2Fart-nouveau-paris Reddy, K. (2019, December 31). 1900-1909. Fashion History Timeline. Retrieved from https://fashionhistory. fitnyc.edu/1900-1909/ Reinke, K. (2020, August 23). Tiffany Glass: Art Nouveau Illuminated. Barnebys Magazine. Retrieved from https:// www.barnebys.com/blog/tiffany-glass-art-nouveau-illuminated Rosenman, R. (2017). Art Nouveau Magazines. The Vienna Secession. Retrieved from https://www.theviennasecession.com/art-nouveau-magazines/ DEFY CONVENTION Flower, S. (2022, January 29). Creating Abstraction: The Materiality of Modernism. Pace Gallery. Retrieved from https://pacegallery.com/journal/creating-abstraction-materiality-modernism Lots Of Likes But No Cash: Can Young Avant-Garde Designers Pay The Rent? (2022, June 30). 1Granary. Retrieved from https://1granary.com/ opinion/lots-of-likes-but-no-cash-can-young-avant-garde-designers-pay-the-rent/ Millar, M. (2021, April 1). Fashion From the Archives: How YSL made abstract art into an experience. The Avenue Magazine. Retrieved from http://www.theavenuemag.com/fashion-blog/2021/3/8/wsj-masterpiece-sample Perlmutter, C. [@tinyjewishgirl]. (2022, October 16). U can find my first post in my B1000!!!! Skirt @stephanieuhart top @miavesper [Video]. Instagram. Retrieved from https://www.instagram.com/reel/CjyG2vVOis-/?igshid=YmMyMTA2M2Y%3D Polyzoidou, S. (2021, April 18). 9 Times The History of Art Inspired Fashion Designers. The Collector. Retrieved from https://www.thecollector.com/9-art-history-inspired-fashion-designers/ Wallenberg, L., & Kollnitz, A. (2019). Fashion and Modernism. Bloomsbury Visual Arts. Retrieved from https:// www.bloomsburycollections.com/book/fashion-and-modernism/?clearSearch THE COMPUTED CONTEMPORARY Deschanel, Z. [@zooeydeschanel]. (2023, March 13). Thank you @irisvanherpen for making me feel like an art piece at @vanityfair. Instagram. Retrieved from https://www.instagram.com/p/CpvLYQ7LEmW/?utm_ source=ig_web_copy_link Howarth, D. (2014, August 21). Noa Raviv combines grid patterns and 3D printing for Hard Copy fashion collection. Dezeen. Retrieved from https://www.dezeen.com/2014/08/21/noa-raviv-hard-copy-fashion-collection-gridpatterns-3d-printing/ Julia Koerner. (n.d.). UCLA Architecture and Urban Design. Retrieved from https://aud.ucla.edu/faculty/julia-koerner Koerner, J. (2018, March 9) Black Panther. Julia Koerner. Retrieved from https://www.juliakoerner.com/black-panther

SOURCES 89