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AdvanceER.com 2 • SMU LOOK 2 • SMU LOOK

Dallas is 1,127 miles from the heart of Mexico City, but only minutes away from Gourmet Mexicano cuisine.

Setting the bar for Continental Mexico City Cuisine for the last 40 years, Javier’s is not your typical Tex-Mex Restaurant. You will not find tacos or enchiladas here, but you will find some delicios dishes of tenderloin beef, fresh seafood, shrimp, chicken and quail dishes seasoned with traditional spices of Mexico, and influenced by its Spanish heritage. Javier’s will change the way you think of Mexican food. We surround you with a classic colonial sophistication that you will not want to leave behind. And why should you? After dinner enjoy the wonderful ambiance of the famous cigar bar, and select from the large selection of premium cigars, ports, and handcrafted drinks in a sophisticated ambiance that you won’t find anywhere else in Dallas.

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Spring/Summer 2020 • 3

Editor-in-Chief Meredith Welborn

Editorial Managing Editor Caroline Lidl Senior Editor Chloe Smith Assistant Editor Mary-Wesley Maddox

Creative Creative Director Maddy McGuire Fashion Editor Terrell Kikis Style Editor Hailey Hasse Assistant Style Editors Maggie Higgins and Emily Rourke Assistant Creative Production Isabel Meadows and Ryan Mikles

Digital Digital Director Emma Castner Assistant Digital Director Maria Ryan Writers Kate Foster, Carolyn Hammond, Maggie Kelleher, Princess Matthew and Mushfequr Rahman

Social Public Relations Director Jules Fox Social Media Manager Sienna Wymbs Social Media Coordinator Isabella Duffy Video Editor Nicki Jackson Video Production Camille Enes and Alexa Field

Marketing Marketing Director Mackenzie Wray Marketing & Sales Manager Amelia Evans Sales Assistants Emma Eaker, Claudia Gillem, Caroline King and Victoria Plott Event Coordinator Cristina Dondiego Event Team Angelina Choucair and Lilly Jach Art Art Director Sydney Hosbein Assistant Art Director Sarah Scambray Art Team Gillian Bressie, Meredith Embree, Rainna Li and Bella Pinera Writers Ashleigh Smith, Chloe Smith, Lizzie Loftus, Meredith Welborn, Olivia Mars, Terrell Kikis, Caroline Lidl, Shaye Galen, Mira Sewaiseh and Mary-Wesley Maddox Photographer Chase Hall MakeUp Eleanor Brown Advising Editors Candace Barnhill, Jenny B. Davis, Lisa Goodson, Myles Ethan Lascity and Jayne Suhler Executive Director Tony Pederson SMU Look, a student-run magazine at Southern Methodist University, is published by the Division of Journalism in Meadows School of the Arts.

SMU Look is dedicated to providing a youthful take on Dallas fashion and living. We strive to inspire and cultivate the standard of style on campus and beyond.

4 • SMU LOOK

Umphrey Lee Center 6225 Hillcrest Avenue Dallas, TX 75275 Entire contents copyright Š SMU Look

VOLUME 4. ISSUE 2

CONTENTS 7 Synthetic Status

Today the wealthiest women often dress like they’re going to the gym – because they are. Here’s why athleisure is society’s wealth indicator.

SMU grad Nicole Musselman offers a unique perspective on business and life.

9 koching up joy 12 The End of Trend

Trend forecasting companies have controlled the fashion industry for the past 50 years, but will they stay relevant in the age of social media?

Instagram is revolutionizing the way we shop, but the rise of counterfeit beauty products raises concerns.

now that second-hand styles have shed their stigma, shoppers rush to embrace the thrifting trend.

26 Click with Caution 33 Treasure hunt 34 Menswear, Modernized With men now dressing for self-expression, menswear marketing has had to man up and make a change.

Contributors

Where do you find inspiration?

How would you describe your style?

Photographer “I’m inspired to capture people in their best light and events in their true quality so that everybody else has high-quality memories to look back on.” — Chase Hall, Class of 2021

Make Up Artist “If I could describe my style in one word it would definitely be beachy. I always find myself drawn to fun sundresses or jean shorts as my go-to!”

— Eleanor Brown, Class of 2023

Spring/Summer 2020 • 5

editor’s letter

In Flux

For most college students, the end of the school year means enjoying a break from schoolwork, spending time with family and friends and new career paths unfolding.

However, as the spring 2020 semester came to a screeching halt in the midst of the COVID-19 crisis, students across the country were left asking … what’s next?

It is our nature to constantly think about the future and predict what it will bring. This is especially true for college students. We are constantly bombarded with questions like: What do you want to major in? What are your plans for the summer? What do you have lined up after graduation? And it would be an understatement to say that the uncertainty COVID-19 brings to Generation Z is unsettling.

This pandemic hit our generation at a defining moment in our lives, affecting not only school, but future jobs, relationships and choices.

It is safe to say that the world may never be the same again, but that isn’t just due to the health and economic crisis our generation is facing.

Today, the world is also experiencing many positive changes that will make this tiny blue dot we call home a much happier place: Seasonal clothing will no longer be restrictive (pg. 8), social media will allow consumers to have a greater influence on trend forecasting (pg. 10-11) and a movement to allow more inclusivity within the beauty industry (pg. 22) will have lasting effects. Today, women can confidently flaunt athleisure on a daily basis (pg. 7), and men can sport ball gowns (pg.34-35). Even in our darkest places, it is important to embrace the positive, like SMU alumna Nicole Musselman tell us (pg. 9).

While it can be hard for us to see past the bleak situation we find ourselves in, how we react to it will define our generation and the future of the country. We are the ones who will ultimately decide the fate of the next election (pg. 32).

The way we face the challenges ahead, how we embrace our communities and how we conduct our relationships will be profound and lasting. While we will still love all things fashion and style, we are forging a path much greater than the newest it-bag or what happens during New York Fashion Week. The future is in our hands.

Meredith Welborn Editor-in-Chief

6 • SMU LOOK

serve looks

Today’s wealthiest women often dress like they’re going to the gym – because they are. Here’s why athleisure is society’s wealth indicator.

By Ashleigh Smith A young woman rushes into a shop in downtown Milan. Her hair is pulled back in a messy bun and her skin glistens from the sweat of a recent Pilates session. There’s another woman in the boutique. This woman wears a sleek black dress and red-soled stilettos. A sales associate spots them and shoots like an arrow toward the woman most likely to result in the highest commission: the woman wearing athleisure.

This example isn’t just hypothetical. A 2013 study published in The Journal of Consumer Research surveyed salesclerks in luxury stores in Milan, asking them, “Which clients were likely to spend more money?” The options were either a woman in a fur and pearls or a woman in gym clothes. The response was overwhelmingly in favor of the woman in gym clothes.

Luxury fashion has long been linked to wealth and status. The affluent were able to wear clothes made of silks and satins — delicate, expensive fabrics designed for those who relaxed indoors, avoiding strenuous physical tasks. Members of the working class wore clothing made to work and move that was made from fabrics like denim or burlap, which were inexpensive and durable.

With the advent of athleisure, these traditional fashion indicators of wealth and class have reversed. Athleisure, which can be traced back to the 1990s and the yoga pant, is typically made from fabrics designed for physical exertion, yet the price for clothes made of these fabrics can be very high.

By 2020, the market for athleisure is estimated to reach a value of $83 billion, according to a study by GlobalData, a British data and analytics provider.

The same study noted that both high fashion brands and prominent brands were “embracing” athleisure.

Athleisure has become the new symbol of wealth because it shows that the wearer has free time to fill with expensive exercise classes and the ability

to choose to wear the same styles for both work and play.

The idea of “leisurewear” dates back to the 1930s.

That’s “when slacks, halter-necked jumpsuits, shorts and playsuits were worn first by the rich and famous in the Hollywood Hills, the Hamptons or on the French Riviera,” said Professor Amanda Hallay, a fashion and culture historian and former editor of Couture magazine.

While elites still flock to posh spots like the Hamptons, they’re no longer strolling the promenades in shorts and slacks, they’re suiting up in athleisure for boutique fitness classes like yoga, spin and barre.

The boutique fitness industry is part of the $26 billion fitness market. Dominated by companies like Equinox and SoulCycle, industry players typically charge upwards of $40 for a single class and membership fees as high as $250 per month, according to The New York Times. That can add up to lifetime totals of $100,000 or more, excluding lifestyle-specific extras like personal training sessions, dieticians or the occasional juice cleanse.

Athleisure is the nylon thread that connects the pricy pastime of fitness with the everyday life of those with wealth and status. Generally, only the affluent ­— managers, professionals, owners — have the ability to decide whether their work attire should be a business suit or nylon capris.

“It’s not only the fact that people have the time to do all of this stuff, but it’s also the idea that you’re so busy that you have to go right to work,” said Dr. Ethan Lascity, director of fashion media at Southern Methodist University.

For the affluent, the same clothes that work for exercise are also appropriate to wear in one’s professional life, he said.

In a society where leggings are now considered luxe, comfort is clearly the new indicator of the uncomfortable divide between the haves and the have-nots.

Spring/Summer 2020 • 7

serve looks

Pa c k yo u r Suitcase

By Chloe Smith From statement bathing suits and perfectly coordinated cover-ups, to colorful ensembles and oversized hats, resort wear has become mainstream.

Where and when people go on vacation was once dependent on the season. Vacations to warm, luxury places over the winter holidays used to be reserved for the affluent upper-class, and resort wear collections were styled for these customers.

However, times have changed, and resort wear is now a necessity year-round. People can now book a flight to St. Barts, Santorini or Tulum with the click of a button. This increase in air travel, paired with the power of social media, has created a higher demand for resort wear.

Because of this increased demand, Miami Fashion Week “continues to be the U.S. home to that season and the world’s only international platform focused exclusively on resort lines,” according to Forbes.com. “Miami Fashion Week is at the forefront of an enormous global business.”

The desire to look picture-perfect on vacation is partly due to the rise of social media.

According to research cited by Business of Fashion, 97 percent of millennial travelers flaunt their vacations on social media, posting up to four times a day.

When inf luencers and celebrities post pictures on vacation, they are almost always dressed to the nines. This has created opportunities for resort wear brands to gain exposure as people post and share photos with their followers.

Brands like Zimmermann, LoveShackFancy,

Sarah Skelton Class of 2022

Solid and Striped, Cult Gaia and Made By Dawn have all capitalized on this growing market. These brands use lightweight fabrics, playful patterns and unique designs to create vacation-ready pieces that are perfect for any destination.

Access to resort wear has changed significantly in the last five years. Department stores cannot survive with extensive resort collections on their floors, despite increased demand.

But e-commerce has provided a space to fill consumer’s needs.

The online retailer Golden Edit sells solely resort wear from brands across the globe.

Revolve, another online retailer, has a featured shop called “OOO: Vacay Checklist,” which is full of bright clothes, bathing suits, shoes and accessories. Net-a-Porter is also in on the trend with its vacation shop featuring high-end labels.

Department stores like Bloomingdale’s and Nordstrom have also adjusted with the times and offer vacation shops on their websites.

With small retailers and boutiques having more specific customer segments, they now have flexibility in their product offerings. The popular Dallas boutique L. bartlett carries resort fashion from brands like Show Me Your Mumu, Amanda Uprichard, Misa, Blue Life, Tori Praver, L Space and Peixoto.

“We always buy resort since a lot of our customers go on vacation around the holiday season,” said L. bartlett store manager Lizzy Martin. “Obviously, Dallas has nice weather throughout most months of the year, so we like to keep a variety of easy, go-to lightweight pieces in the store.”

Sienna Wymbs Class of 2021

8 • SMU LOOK

serve looks

Koching Up Joy SMU grad Nicole Musselman offers a unique perspective on business and life.

By Lizzie Loftus Not many company founders and CEOs take conference calls while getting their cardio in on a mini trampoline. But SMU grad Nicole Musselman, owner of the Dallas-based women’s clothing brand KOCH (pronounced “cook”), never set out to run her company the traditional way.

“Thankfully, I had parents who were real independent thinkers and encouraged me not to take a traditional path,” Musselman said.

Fou nded i n 2 01 3 a nd n a med a f ter Musselman’s mother’s maiden name, KOCH is known for its casual and chic style. Among the brand’s bestsellers is the Erica Skirt (spoiler alert: it’s a skort) that flatters coeds and moms alike.

“The Erica skirt represents the idea that I wanted to make clothing that people could go out and do the same thing in,” said Musselman.

“I want to make casual clothing and things that make girls feel good and sexy and flirty but also like they’re on an intellectual pursuit in a way.”

Musselman not only runs the company but also designs all of its pieces, almost all of which are manufactured in Dallas. The 1992 SMU graduate, who studied advertising and went on to earn a master’s degree in literature, hasn’t forgotten her roots: She frequently hires SMU students as interns and models.

“I was always more interested in building something with people so it felt like a collaborative effort to build a team of people who were like minded who could build something and put it out into the world that felt purposeful and had a mission behind it,” she said.

The KOCH House, a converted 1920’s bungalow on Fairmount Street in Uptown, doubles as KOCH’s retail store and design headquarters.

The space is filled with hues of blue and the brand’s signature neon sign. The storefront is designed for customers to leave happier than when they arrived. In addition to the beautiful clothes, there is an endless variety of candy,

a fully stocked tequila bar, ping pong tables, cornhole games and even a basketball hoop.

Musselman said the company’s philosophy is based on a principle of joy-making and risktaking. She encourages her clients, employees, friends and family to embark on a quest to fail.

Taking risks and failing is the only way to reach true success.

“Behind every success is a million failures and for whatever reason this is not what we show,” Musselman said. “Luck is nothing more than a million risks that you’ve taken that didn’t work out and then amounted to

something wonderful.”

Musselman, who faced hardships in her twenties after the death of her father, NBA coach Bill Musselman, gave this advice: Embrace life with a sense of humor and take everything in stride. Life will be tough at times, and come with all sorts of unexpected twists.

But if you can, laugh it off.

“If you don’t have a sense of humor when things don’t go the way you want then life can be tricky,” she said. “If you do, I think that you learn from it and become stronger and that the ride is a whole lot more fun and enjoyable.“

On Left: Nicole Musselman, CEO of Koch On Right: Madison McKinley Isner Photography: Chase Hall

Spring/Summer 2020 • 9

In Bloom

What’s on our radar for Spring/Summer 2020

Twenty-Twenty Vision Sometimes you just need to make a statement. Finish off your outfit in the chicest way with oversized sunnies. Pair a dramatic oversized frame with a simple outfit to always look put together. — Mary-Wesley Maddox Charlotte Ryan Class of 2024

Dot. Dot. Dot. Say farewell to stars and stripes because the classic polka dot print is everywhere this season. From tops and bathing suits to jackets and shoes, flaunt this feminine print on the beach or the streets. Mix and match it with bright pops of color or even denim pieces. — Chloe Smith storet.com, $29.90

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The most effortless 2020 accessory is the croissant bag. Relaxed and nonchalant, this piece can be dressed up or down for any outfit.

Look to Bottega Venetta for inspiration on this trend. — Mary-Wesley Maddox

moda

opera

10 • SMU LOOK

ndi.co

m, $3 81

serve looks lelesadoughi.com - $125

Shell Yeah!

Get ready for your tropical vacay because tortoise shell accessories have made a major comeback. While this material is most commonly seen in eyewear, use it this season to make a statement with chunky necklaces, earrings and bracelets. The tones of brown and black make it an unusual neutral to elevate your favorite looks. — Chloe Smith

Shine On

f re ep

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m, $

18 8

Make any outfit shine with a healthy dose of disco shimmer. Crystal rhinestone belts, bags and shoes are having a major moment this season on and off the runway. Add some glamour to a simple pair of jeans or sparkle all night in an LBD with this versatile day-to-night trend.

— Caroline Lidl

@JENN3 Zara.com, $6

9.90

Step it Up As if the ‘90s haven’t provided us enough fashion inspiration this year, the decade’s iconic skinny, strappy sandals are back and better than ever before. In addition to their nostalgic allure, these delicate designs are the simplest way to achieve chic, cool-girl style all summer long.

— Caroline Lidl

forloveandlemons.com, Top $144, Skirt $135

Take Cover Crochet has gotten a modern upgrade from its popular hippie look in the ‘70s. Elevate your style with crochet dresses, shorts and matching sets. Plus, it makes the perfect beach cover-up!

— Chloe Smith

Not your Basic Bathing Suit It was an itsy bitsy teenie weenie … long sleeved bikini? This season’s most stylish swimwear defies all tradition with the addition of sleeves, color blocks, mid-drift ties, belts and wild animal prints. — Caroline Lidl

forloveandlemons.com, $221

Spring/Summer 2020 • 11

The

End of Trend

Trend forecasting companies have controlled the fashion industry for the past fifty years, but will they stay relevant in the age of social media?

By Meredith Welborn

Photo courtesy of Burnett New York/Dan Lecca Photography

M

What you don’t know is that that sweater is not just blue, it’s not turquoise. It’s not lapis. It’s actually cerulean. And you’re also blithely unaware of the fact that in 2002, Oscar de la Renta did a collection of cerulean gowns ... And then it filtered down through the department stores and then trickled on down into some tragic Casual Corner where you, no doubt, fished it out of some clearance bin.

However, that blue represents millions of dollars and countless jobs.

- Miranda Priestly to her assistant Andy in the 2006 film, The Devil Wears Prada.

eryl Streep’s portrayal of Miranda Priestly, a character based on the tyrannical but respected American Vogue magazine editor Anna Wintour, shed light on a truth about how the fashion industry dictates style. For years, powerful people like the editor of Vogue have defined what is “trending” in fashion.

But that is changing as individuals gain power through social media.

“The whole world of trend forecasting is changing,” said Courtney Maum, a former forecaster and author of the 2017 novel “Touch,” about a trend forecaster.

According to Debra Johnston Cobb and Kate Scully, authors of “Color Forecasting for Fashion,” trend forecasting began in the 1950s.

Rather than predicting trends, however, forecasting companies would look back at the previous season’s work and point to what they

12 • SMU LOOK

saw as recurring themes on the runways.

By the 1970s, forecasting had expanded significantly. Companies were now forecasting trends up to eight months in advance, in essence making decisions about colors, skirt lengths and heel heights.

“Fashion forecasting is the practice of predicting upcoming trends based on past and present style-related information, the interpretation and analysis of the motivation behind a trend and an explanation of why the prediction is likely to occur,” said designer and Southern Methodist University fashion media professor Elif Kavakci. “Fashion forecasters communicate the information they gather to designers, retailers, product developers, manufacturers and business professionals.”

Rather than letting artisans and designers make their own creative decisions, these

powerful groups began deciding what’s in and what’s out, becoming a powerful force in the fashion industry. A trend, explains SMU fashion media professor Dr. Ethan Lascity, “is all really sort of a social construct: Who is making these decisions? Who are we following?”

Today, Pantone and World Global Style Network are among the premier trend forecasting companies making those decisions. WGSN alone has upwards of 70,000 designers and merchandisers who subscribe to its daily and annual reports. These reports tell designers, for instance, millennial pink is the new it-color or insist merchandisers stop spending money on skinny jeans because that trend is now history.

Miranda Priestly may have been a fictional character, but her observation is very real: Consumers nowadays rarely have control over what they like and don’t like.

serve looks But today’s tech-savvy generation is taking back the reins.

“Observant people, now with the tools that we have through technology, can do what Pantone does,” Maum said.

Social media platforms like Instagram, TikTok and Snapchat are disrupting the world of trend forecasting because social media allows for a higher level of creativity than established trend forecasting companies can provide. They are also losing credibility to social media influencers, who are now dictating trends directly to consumers. Ultimately, trend forecasters can’t churn out predictions fast enough to keep up with the rapid pace of fashion and beauty trends as demanded by today’s social media-obsessed culture.

A trend forecasting agency is only as successful as its ideas, and that’s where the problem begins. Trend forecasting powerhouses like Pantone and WGSN have to answer to shareholders, which can hinder creativity.

Because these companies can’t always deliver cutting edge ideas, it has become harder for them to prove to their clients that they are the ones in the know.

“The mass-market retail sector is increasingly seen as more reactive than innovative, and despite the number of agencies now operating, many major companies are obtaining information from the same place, causing the high street, in particular, to become overburdened with facsimile products,” wrote Kate Hart in her 2015 article for notjustlabel.com, “The Future of Fashion Forecasting.”

Hart said because so many designers and merchandisers religiously follow the predictions of large-scale trend forecasters, their products can seem almost plagiarized — turning away potential new clients.

The idea that true creativity lessens in a professional setting is not new. American sociologist Herbert Blumer described the phenomenon in his 1969 essay, “Fashion: From Class Differentiation to Collective Selection.” In this essay, he introduces the Collective Selection Theory, which states that the way women dress is reflective of society and its happenings, like the political

climate of the time.

“This responsiveness in its more extended form seems to be the chief factor in formation of what we speak of as a ‘spirit of the times’ or a zeitgeist,” Blumer said in his essay. Because professionals in the fashion industry are so closely intertwined, they all tend to generate the same ideas, Blumer writes. Distance from this professional world allows for more creative freedom.

Bloggers and social media influencers may not only experience increased creativity but may also be more deeply immersed in the cultural zeitgeist. Their distance from this industry allows them to curate, originate and generate trends that more directly speak to what the general public is experiencing.

This is what makes influencers so powerful as marketers. According to research conducted by the financial news website Business Insider, the influencer marketing industry was a $9 billion industry in 2019 and is expected to grow to $15 billion by 2022.

“The whole world of trend forecasting is changing” - Courtney Maum At one time, the most successful product endorsements came from royalty, celebrities or others considered by the general public to be the richest, the prettiest or the most elite. What makes social media influencers different is that they came to fame by communicating directly with their audience. Their followers listen to them because they feel like they can achieve, for example, the smoky eye from a tutorial, or the New Year’s Eve outfit from an Instagram post.

This open communication also allows for influencers to keep up with the wants and needs of their followers in a way that established fashion forecasters cannot, said Dr. Lorynn Divita, a fashion forecasting professor at Baylor University and author of a fashion forecasting textbook. “Formerly, the gatekeepers were fashion journalists and editors, and

now it has broadened to include bloggers and Instagrammers,” she said.

Influencers have become increasingly appealing to marketers, sometimes even designing their own lines in collaboration with a company — no forecaster required. From Claudia Sulewski’s recent line with Nordstrom BP to Jaclyn Hill’s successful “Champagne Pop” highlighter with Becca Cosmetics, influencer partnerships have infiltrated the beauty and fashion industries.

Some influencers have even created their own lines, including YouTubers Lauren Elizabeth and Amanda Steele.

And there’s a bonus benefit to brand-influencer collaborations: When an influencer acts as the face of a brand, it gives the brand an opportunity to broaden its appeal to a wider range of consumers. “When you have someone younger or more diverse doing this, that representation certainly helps. You’re seeing other people that reflect you in that way,” Lascity said.

With influencers dominating social media and its marketing message via constant posting and promoting, one thing is certain: There will always be a need for speed. The very role of the influencer drives consumerism and guarantees constant content creation, reinvention and production in the fashion and beauty space.

Fast fashion is a prime example of this because it has changed the very nature of the trend, said Divita. “By having weekly deliveries of new products instead of seasonal like traditional retailers, people are motivated to shop much more frequently, and by doing so they are more inclined to try out new trends.”

Unfortunately, this rapid pace is at odds with the way traditional trend forecasters are able to operate. In years past, trend forecasters have extrapolated trends up to 20 years in the future.

“The challenge has been to compete with this new generation, not only in terms of cost but also in terms of being seen as leaders in up-tothe-minute and relevant trend information,” Hart said.

While Pantone or WGSN may not go away anytime soon, social media shows that trend forecasters no longer hold the keys to the next big thing in fashion.

Spring/Summer 2020 • 13

Models: Ashley Wang, Class of 2023; Paulina Leiva, Class of 2021; Kennedi Feigl, Class of 2023; Taran Stahle, Class of 2021; Alison Sheehan, Class of 2021 Photography: Chase Hall Stylists: Maddy McGuire, Terrell Kikis, Hailey Haase, Maggie Higgins, Emily Rourke, Isabel Meadows, Ryan Mikles Makeup: Eleanor Brown All clothing from MARKET unless stylist’s own.

14 • SMU LOOK

Spring

Awakening

Revel in the romance of this season‘s ultra-femme, flirty styles.

Picnic Perfect From Left: Dress: LoveShackFancy, $365 Dress: Derek Lam, $695 Dress: Sea New York, Stylist’s Own Dress: Caroline Costas, $395 Top: Zimmermann, $595 Shorts: Zimmermann, $375

Spring/Summer 2020 • 15

Spill the Tea On Left: Dress: Sea New York, Stylist’s Own On Right: Dress: Derek Lam, $695

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Daydreamer Dress: Acler, $550

Spring/Summer 2020 • 17

Better Together From Left: Dress: Zimmermann, $695 Cardigan: Maison Margiela, $580 Skirt: Maggie Marilyn, $415 Dress: Rococo Sand, Stylist’s Own Dress: Zimmerman, $1100 Dress: Acler, $550

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Spring/Summer 2020 • 19

Think Pink Top: Zimmermann, $595 Shorts: Zimmermann, $375 Jewelry, Model's Own

20 • SMU LOOK

Follow @smulook on Instagram. smulook

smulook Pick up your Spring/Summer issue of SMU Look and head to your nearest pool #summervibes

Spring/Summer 2020 • 21

good looks Model: Grace Caldwell, Class of 2021 Photography: Chase Hall Stylists: Maddy McGuire, Terrell Kikis, Hailey Haase, Maggie Higgins, Emily Rourke, Isabel Meadows, Ryan Mikles Makeup: Eleanor Brown

22 • SMU LOOK

Formulating Change Facing few options for flattering foundations, women of color get creative.

By Olivia Mars

L

auren Perry steps up to the cosmetics counter and braces herself for the frustration of finding the right foundation. Perry is African-American, and she said that’s why she knows the process will be neither quick nor easy.

“It is so rare for me just to pull something off the shelf and know it is going to hit my skin tone every single time,” said Perry, a 25-year-old marketing professional from Dallas. “I’m not the darkest, I’m not the lightest, and I’m not even the medium, so it is all just a pain in the neck. I never have just one foundation.

It never fits me.”

If she can’t find the right shade, Perry launches her backup plan: mixing different shades of foundation on the back of her hand. “I’ve gotten really good at it so I don’t waste too much product by over-mixing a specific shade,” she said.

Southern Methodist University student Annette Bolomboy can relate. As an African-American, she said she’s had to blend her own formula before. Bolomboy also works as a model, and she said not even professional make-up artists can find foundation shades for her skin. “For the other models, who typically are white, they’ll always have their foundation color, but for me, I don’t even ask anymore, I just bring my foundation,” she said.

Major beauty brands have made progress. Fenty Beauty, for example, boasts 50 different shades, up from 40 when it launched in 2017, and last year Lancôme featured black actresses Zendaya and Lupita Nyong’o in ads for its new Teint Idole foundation. The incentive is certainly there: Black women spend over 80 percent more on beauty products than the rest of the market, according to a 2018 Nielsen Company report on the impact of African-American consumers. But women of color say there’s still a long way to go.

While the range of colors appears to be growing, appearances

can be deceiving. That’s because a visual color match doesn’t always correspond to an actual color match when the liquid is applied to the skin. Chemists hired for a 2019 Business of Fashion industry study analyzed multiple commonly available foundations marketed to women of color and discovered that, despite pigment differences, many of the foundations were formulated with the same base shade, which can make darker shades appear chalky, according to the study.

Luckily, African-American businesswomen have stepped up to fulfill the foundation needs of this still-underserved market segment. Melissa Butler founded Lip Bar in 2011 in part because she was frustrated with the beauty industry and its lack of diversity, she told Instyle magazine. Lip Bar offers 26 shades of its foundation online. Customers can request up to three free foundation samples, and there’s even a virtual matching tool that compares its shades to other brands to help facilitate a perfect match.

This spring, Black Opal relaunched with new ownership and a renewed commitment to luxury cosmetics formulated specifically for women of color. Originally founded in 1994, the brand was bought last year by Cheryl Mayberry McKissack, former COO of the publishing company behind Ebony magazine, and Desiree Rogers, former social secretary to Michelle Obama. “You’ve got two black women advocating on behalf of women of color globally, on their skincare, on their cosmetics, on their colors, on the ingredients that are being put into their product,” Mayberry McKissack told Vogue magazine. “We take that very seriously.”

Bolomboy is hopeful that the big brands will begin to face reality. “They need to break the barrier as to what they define as beauty,” she said. “Beauty is everything — different skin colors, different hair types. Diversity within everything.”

Spring/Summer 2020 • 23

good looks

#Shelfie Straight from your countertop to your Instagram feed,

1

here are the products pretty enough to post — that actually work.

2

Keep cool with the chicest addition to the beauty scene, a skincare fridge. These pint-size appliances help extend the shelf life of your favorite products, make them work better and provide cute content for your social media feeds. Use your fridge to store products with active ingredients, sheet masks, facial tools, probiotics and even nail polish. — Caroline Lidl Amazon.com, $40

Latisse

Need a lift to your lashes? Latisse is your best friend.

Swipe a drop of the serum on your lash line at night, and before you know it, your lashes will reach new lengths. This product requires a prescription, but it is so worth it. — Meredith Welborn

24 • SMU LOOK

Beauty Fridge

HelloRory.com, $110

3

Diptyque Mini Candle

Get a whiff of this! Parisian candle company Diptyque offers an array of olfactory indulgences that look as great as they smell. Illuminate your beauty counter with these petite luxuries.

— Caroline Lidl DiptyqueParis.com, $36

good looks

4

Aesop

Meet the Melbourne-based skincare brand that is blowing up. Aesop’s sleek and modern packaging paired with its high-quality plant-based ingredients provide a positive sensory experience. Try out these hand soaps and lotions and quickly fall in love with the rest of this brand’s amazing products. — Chloe Smith

BergdorfGoodman.com, $39

5

Fenty Gloss Bomb

The perfect product in the prettiest packaging, this fan-favorite lip gloss by celebrity brand Fenty is an absolute essential. Its combination of unbeatable shine and conditioning ingredients are the simplest way to loveable lips. — Caroline Lidl

Sephora.com, $19

6

Glossier Solution

Skincare junkies, we’ve found your Solution. This chemical exfoliator is a Glossier go-to. It is gentle enough for everyday use, but the combination of AHA, BHA and PHA turns over dead skin cells to reveal incredible glowy skin. — Mary-Wesley Maddox

Glossier.com, $24

7 Amazon.com, $8

Bamboo Makeup Remover Pads

Remove makeup, reduce waste! Bamboo is one of the world’s fastest-growing renewable resources and the secret behind the best reusable makeup remover pads. The bamboo fabric is gentle on skin and so easy to wash. — Caroline Lidl

Spring/Summer 2020 • 25

click with CAUTION

By Terrell Kikis

Instagram is revolutionizing the way we shop, but the rise of counterfeit beauty products raises concerns.

S

crolling through her Instagram feed on a Saturday morning, Southern Methodist University junior Anabel Hall saw an ad offering Clinique pressed powder for a price she knew was far below retail. It seemed like a good deal, so she clicked, paid and soon received her makeup in the mail.

At first glance, her purchase looked like it should — the mint green and pink box was the same, and inside, the compact was mint green plastic with a mirror on the underside of the lid, just like the Clinique pressed powder compacts she’d bought online from Sephora and from department store cosmetic counters in the past.

She brushed the product on her face.

The next morning, however, she realized that what she had applied to her face was not Clinique.

“I went to the mirror and saw a red, blotchy rash that was slightly swollen and hurt to the

26 • SMU LOOK

touch,” she recalled. “I was in a panic.”

She immediately reached for an older powder and compared the containers. “The container I purchased was slightly off-colored when I put them

Selling counterfeit cosmetics isn’t just wrong, it’s making customers sick.

-Detective Rick Ishitani side-by-side, and the font was altered,” she said.

She called her dermatologist and reported the ingredients listed in the powder. Her dermatologist told her that the list included harmful

carcinogens — likely the cause of her rash.

Hall was lucky. Her rash was minor, and thanks to the topical medication her dermatologist prescribed, it went away within a few days. But Hall is far from alone. She is one of the countless women across the country who have suffered medical issues ranging from skin rashes to eye infections, all the result of using counterfeit cosmetics.

In 2016, so many young women reported that their Kylie Cosmetics Lip Kits had caused their lips to stick together that owner Kylie Jenner took to Snapchat and Twitter to warn about buying the product anywhere other than on her website.

“The ingredients that they’re using in these fake products are also really, really dangerous which is my biggest concern,“ Jenner tweeted.

“I just re-posted a video of this girl who got a fake Kylie Lip Kit and her lips are literally stuck

5 Tips

good looks

together like glue. This is getting so out of hand, people — please, please, please don’t trust any other website.”

The World Trade Organization defines a counterfeit item as a “knockoff or replica version of another company’s product.” Typical examples include handbags, jewelry, clothing, makeup and perfumes. A counterfeit item isn’t just a fake, it is also illegal. A company that manufactures an item by imitating the trademark of another company’s product is guilty of a type of trademark infringement.

Manufacturers of counterfeit cosmetics can also be prosecuted under state and federal consumer protection laws. Unlike a bootleg Balenciaga bag or a swap meet Supreme hoodie, counterfeited makeup puts people’s health at risk. That’s because counterfeit cosmetics are often manufactured in unhygienic, unregulated conditions overseas, which can lead to a dangerous build-up of bacteria, according to a 2018 article on Law360, a legal news analysis website.

But bacteria is just the beginning. According to a 2014 report issued by the National Intellectual Property Rights Center, which works with the FBI to combat counterfeit cosmetics, these products can contain high levels of dangerous ingredients like aluminum, along with known carcinogens like arsenic, beryllium and cadmium.

Experts even found animal feces mixed into counterfeit makeup seized in a 2018 raid of an outdoor bazaar by the Los Angeles Police Department. Selling counterfeit cosmetics isn’t just wrong, it’s making customers sick, LAPD Detective Rick Ishitani told ABC News.

New York dermatologist Dr. Elizabeth Zeitler sees the health consequences of these hazardous ingredients first-hand. She said she’s noticed a dramatic increase in skin issues among patients she believes have fake makeup.

Zeitler said she became aware of the problem when she noticed a pattern of skin conditions like bacterial infections and also a specific rash called dermatitis. She asked her patients to bring in their beauty products so she could examine them.

“The consistency of the powder of the product was either off or the smell wasn’t just right,” she said. It was an instant tip-off that the products were fakes.

Zeitler doesn’t see an end anytime soon. “As years go on,” she said, “counterfeit products are getting more authentic, and it becomes more challenging to tell between a real product and the knock off.”

For now, Zeitler’s advice is both medical and practical. “I make sure to tell my patients to always purchase their beauty products from an authorized skincare professional or authorized online retailer only, because you never know what you are purchasing on Instagram.”

for Spotting Fake Makeup It can be difficult to spot counterfeit cosmetics, especially when buying online or through social media. Here are five ways to spot fake cosmetics in order to protect your wallet and your health, courtesy of the Office of the Texas Attorney General: • The product has different packaging than the authentic brand, including colors, lettering and/or haphazard wrapping.

• The product is being advertised as “limited edition” even though the authentic manufacturer doesn’t offer it as a limited edition.

• The price is drastically lower than the authentic product.

• The product’s consistency or texture is different than that of the authentic brand.

• The product is sold by a non-authorized retailer, including flea markets, mall kiosks and over the Internet.

The Office of the Texas Attorney General encourages any consumer who encounters a counterfeit beauty product to contact them at txoag.force.com/CPDOnlineForm or call the Consumer Protection Hotline at 800-621-0508. The National Intellectual Property Rights Coordination Center also works with the FBI to combat counterfeit makeup. To report a counterfeit makeup seller or sale, visit iprcenter.gov/referral/view.

Evening News Here are the looks making headlines on this G.N.O.

GN Models: Johanna Hixson, Class of 2022; Grace Quackenbush, Class of 2022; Sarah Anania, Class of 2020; Taylor Neilson, Class of 2020 Photography: Chase Hall Stylists: Maddy McGuire, Terrell Kikis, Hailey Haase, Maggie Higgins, Emily Rourke, Isabel Meadows, Ryan Mikles Makeup: Eleanor Brown Location: Drake’s, 5007 W Lovers Lane. Dallas, Texas 28 • SMU LOOK

NO Sparks Fly All Alice + Olivia Dresses: $295 Tops: $195 Skirts: $265

Spring/Summer 2020 • 29

GN Mirror, Mirror

All Alice + Olivia Top: $225 Pants: $395

30 • SMU LOOK

Rumor Has It All Alice + Olivia On Left: Dress: $895 On Right: Jumpsuit: $264

NO Spring/Summer 2020 • 31

K i w d e on the

s

N

LOOKING OUT

BLOCK

By Caroline Lidl

In the race to win the White House, members of Generation Z vote to shape their futures.

T

he 2020 Presidential Election is set to make history. It is the centennial anniversary of the 19th Amendment and the first time a president has been impeached during his first term while running for a second. At the same time, a significant portion of a new generation has reached the age of voter eligibility.

Classified as those born after 1996, Generation Z is set to be the most diverse and educated generation in U.S. history.

According to a 2018 Pew Research Center report, only a slight majority of Gen Z — 52 percent — is non-hispanic white, and its oldest members are enrolling in college at a significantly higher rate than Millennials were at a comparable age.

Members of Generation Z know a world dominated by all things digital.

They faced the fallout of the 2008 recession, then the worst economic downturn since The Great Depression. And, the COVID-19 is hitting the generation in ways we don’t even understand yet.

The cultural context around its members’ coming of age is sure to be ref lected in their votes come November. Members of Generation Z are set to inherit the fallout of political decisions made during this election.

This year, one in every 10 eligible voters will be a member of Generation Z, according to data in a 2019 Pew Research study. They will make up 37 percent of the electorate, surpassing the voter percentage of any other generation. While Generation Z is championing several of the political trends favored by Millennials, these young Americans are taking their own stance on some of the more controversial issues. They have united on a much larger scale than older

32 • SMU LOOK

generations, particularly in regard to climate change, the student debt crisis and the legalization of marijuana.

But this influx of new voters does not come without challenges. Just as Twitter played a significant role in Barack Obama’s and Donald Trump’s respective campaigns and presidencies, Instagram’s influence over Generation Z’s political beliefs is not to be underestimated. A national survey conducted by Business Insider identifies social media as the top news source of Generation Z, 65 percent of its respondents claiming to check Instagram daily.

While Instagram is a a popular social media outlet, there is danger in how it presents content, sometimes condensing political news into clickbait captions or offering polarizing memes. Accounts run by biased sources, or those lacking credibility, can amplify divisions and facilitate misconceptions.

The other area of major concern is the historically low turnout rate of young voters. However, a record surge during the 2018 midterms offers a glimmer of hope to those candidates seeking Generation Z’s vote.

Over the last several years, political candidates have focused their attention on understanding and adapting to the influence of Millenials, born just before Generation Z. Millenials have been pioneers of social and political change: driving technological innovation, challenging workplace norms and sparking dialogue about a number of societal issues. But now, it is time for them to hand off their political power to the newest generation of voters — Gen Z.

LOOKING OUT

TREASURE HUNT

By Shaye Galen Illustration by Sarah Scambray

Now that second-hand styles have shed their stigma, shoppers rush to embrace the thrifting trend.

T

he newest trend in shopping isn’t new at all. In fact, it’s old — as in old clothes. Whether they’re referred to as second-hand, pre-loved or thrift-store treasures, customers can’t get enough of closet castoffs.

For years, second-hand shopping bore a stigma that made shoppers who could afford alternatives stay away. “There is a stigma because the word ‘thrift’ makes it sound cheaper and less enticing for the shopper,” said Tenni King, a wardrobe stylist and personal shopper in Dallas.

Tim Heis agrees. As the chief executive officer of Goodwill Industries of Dallas, Inc., a nonprofit that operates a network of thrifting destinations, he’s seen Goodwill’s shoppers evolve. “We still have a healthy balance of buyers who are looking for affordable options for everyday clothes,” but he is also seeing “steady and slightly increasing set of buyers that are more on the treasure hunt for key items for their wardrobe.”

What’s driving this thrifting renaissance?

Plenty, say experts and shoppers. Those who thrift appreciate that it’s a more ecologically responsible way to shop. It’s also gotten easier to find second-hand merchandise thanks to a growing number of resale e-commerce sites and the re-concepting of existing thrift stores. And when shoppers buy from charities like Goodwill, they can support social service missions with every purchase.

Thrifting is the fashion equivalent of going green. The average American throws away about 82 pounds of clothes a year, according to Planet Aid, a nonprofit organization that recycles textiles. These tossed-out garments contribute to textile waste packing America’s landfills — nearly 17 million tons in 2017 alone, according to U.S. Environmental Protection Agency estimates.

When clothes stay in closets, they don’t end up in dumps. Thrift stores like Goodwill and The Salvation Army also keep unsold clothes from polluting the earth, selling them to salvage markets for repurposing creations. “We don’t have any impact on how things are manufactured,” said

Heis, but reselling allows for a second and third life.

Luckily, the resale shopping experience has become easier and more upscale than ever before.

An explosion of reseller apps like Poshmark and Mercari, plus trendy ecommerce sites specializing in thrifting, inspire savvy shoppers to give thrifting a try. It’s working: A 2019 retail report by ThredUp, the largest online consignment and thrift store, showed that 64% of women bought or are now willing to buy secondhand, up from 45% in 2016.

Brick-and-mortar thrift stores are also taking part in the change, ditching the stereotype of dusty, unorganized storefronts. “It’s not your kind of grandma’s thrift shop,” said Heis about Goodwill. Many of its resale stores have been remodeled and expertly merchandised, he said, to create a shopping experience that’s “fun and also stress-free.”

It’s not just easier to thrift-shop, it’s also getting trendier thanks to Instagram. Fashion influencers and bloggers are using Instagram to buy, sell and show off their one-of-a-kind finds with hashtags like #liveatthethrift, #roundtwovintage and #thriftfind.

“We’re in a culture where it is very much on-trend to post pictures of yourself enjoying experiences, and a fundamental part of those experiences is what people are wearing,” said Heis. “It makes it socially acceptable, it makes it interesting, and it really makes the treasure hunt come alive.”

Many shoppers also appreciate that their dollars make a difference in other people’s lives. Consumers thrift because they want to help organizations and give back to the community, said Salomon Elias of The Salvation Army Adult Rehabilitation Center in Dallas. Proceeds from the Salvation Army’s thrift stores directly support the center’s outreach and programming for men with substance abuse issues. With every thrift store purchase, Elias said, “you save a life, you save a soul, you save a family.”

So next time someone asks about the origins of that stylish outfit, say it loud and proud: “Sorry, not sorry, it’s thrifted.”

Spring/Summer 2020 • 33

Menswear, Modernized

By Mira Sewaiseh

With men now dressing for self-expression, menswear marketing has had to man up and make a change.

Jake Charnes Class of 2022 @jake_charnes

“Don’t be into trends. Don’t make fashion own you, but decide what you are, what you want to express by the way you dress and the way you live.”

— Gianni Versace

W

hat does a typical American man wear? Today, the answer is anything he wants. Modern menswear is bold. It’s frilly. It’s colorful. Men can step out in clothes that show off their creativity.

34 • SMU LOOK

They can express their thoughts and feelings through a personal style, no matter what anyone else thinks.

Historically, menswear and fashion did not always go together.

Perhaps the most iconic feature of American menswear is the traditional suit — a uniform rendered in simple colors like black, brown and navy blue. “If you were an immigrant coming into the United States and you were a man, one of the first things you did was buy a suit, so you could fit in with the rest of the population,” said Michael Londrigan, fashion merchandising professor at LIM College in Manhattan.

“The suit portrayed wealth, power and uniformity. It allowed everyone to communicate the same messages amongst such a uniform design.”

However, this value of uniformity has been thrown out the door, and now individuality and expression are prioritized in the menswear industry. It is becoming more common for men to abandon gender restrictions and have the freedom to make personal statements through their style. “I think that they’re just making a personal statement that they are really comfortable with whatever they do, however they dress,” said Londrigan.

The menswear evolution is the result of the changing understanding of what it means to be an American man. Men have shifted from viewing clothes as a standard necessity to recognizing the opportunity for expression through clothing. Instead of fitting in by wearing a uniform, there is value in standing out — and men feel more comfortable standing apart from the pack. As a result, fashion marketers have had to change the way they communicate with men about clothes.

The fashion industry starts with the question of what it means to be masculine. According to a recent survey of 1,005 men and women conducted by GQ Online, over 70% of those surveyed said men want to be described as honest or respectful, while less than 20% of those surveyed

LOOKING OUT

said men want to be identified as macho or muscular. This data illustrates a movement away from men prioritizing masculinity to valuing genuine self-expression.

“Within the box of hyper-masculinity, there is no space for self-expression through fashion, but today, men have broken through that shell and now feel free to explore fashion on their own terms,” said GQ magazine style writer Rachel Tashjian. “I think a lot of men are thinking, ‘I don’t care what you think about me, and that is so liberating.” This newfound sense of freedom allows for creative liberty through daring textures and designs.

“Clothing is one of the spaces right now where men can experiment and make mistakes and do fun and weird things,” Tashjian added. “It’s almost like a safe space.”

Social media plays a role in allowing men to showcase their personal style. According to FashionBeans, in an article titled “The State of Menswear in 2020,” social media has “generated an acceptability among men in having an interest in clothes.” The piece states that social media is a contributing factor in the growth of the menswear market because it allows people to display their outfits with a confident air, and these digital presences inspire others to develop a similar style. This cycle has contributed significantly to the shift in popularizing breaking the boundaries of gender.

Another way men are now able to express this newfound fashion freedom is by wearing pieces that have more feminine origins. With inspiration from celebrities like Harry Styles, men have implemented lace tops, silk pants and brooches on jackets, and nobody bats an eye. Red carpet looks are posted onto social media immediately, and while these extravagant ensembles are not an everyday style, men are able to use social media for reference as they incorporate similar pieces into their wardrobe.

While male celebrities demonstrate the possibility of wearing flamboyant pieces, which can be as subtle as jewelry or as extravagant as ball gowns, they also serve as a genius marketing tool that was not an original tactic in the men’s fashion industry. Tashjian said that celebrities interpret runway looks in ways that flatter people who are not necessarily models.

This marketing method persuades men to be bolder in their purchases and go for abnormal pieces that they can wear with confidence.

“Ultimately, everyone wants to be as individual as possible ­— everyone

wants not to be a part of the pack,” said celebrity stylist Michael Fisher, who’s represented by The Wall Group, a talent agency in New York City. Fisher’s clients include Hugh Jackman, James Corden and Adam Driver, among many other big Hollywood names. Fisher notes that men can stand out in the fashion world by making style choices others around them are not making.

This movement of men dressing with a more bold, feminine flair is just beginning. The recent fashion week shows are displaying this evolution. “Menswear has gotten a bit more of a romantic, feminine vibe to it all.” Fisher said. “It’s going to allow the people that have the natural inclination to dress that way to feel empowered to dress that way.”

As the market for menswear changes, so too must the way the fashion industry markets to men. Effective marketing to men once emphasized two aspects: functionality and uniformity. Londrigan said that the menswear market used to be “hit and run,” which enabled men to run into a store, get the shirt they needed for their uniform and run out without exploring other pieces that allow for creative expression.

According to a Business Insider article detailing the evolution of men’s style, one of the early marketing tactics was the trend cycle. With the introduction of readyto-wear clothes in America came mass production, and Business Insider states that as mass production became more popular, retailers had to market the new styles as a way for men to stand out in a sea of similar clothing.

This understanding of effective marketing continues today. Retailers are learning that men may want to wear pastel colors and softer fabrics. Fisher draws an instant connection between the prevalence of pink on the fashion week runways and the selection of pink on the racks of retail menswear departments. “You can go into any store and pretty much buy a pink suit,” said Fisher. It may be the same silhouette, he said, but now it’s in “more feminized fabrics and colors.”

Modern menswear marketing illustrates that boundaries are breaking within the industry. As men’s evolving style forces marketing to progress with it, menswear continues to evolve into a force to be reckoned with. Versace’s advice has made its mark on the style industry, and today men can finally utilize fashion to express themselves confidently and stylishly.

Spring/Summer 2020 • 35

Mr.

Brightsides SMU guys get happy in comfotable, easy-going gear.

Models: Reuben Beckett, Class of 2021; Trace Webb, Class of 2022; Sam Shrier, Class of 2022 Photography: Chase Hall Stylists: Maddy McGuire, Terrell Kikis, Hailey Haase, Maggie Higgins, Emily Rourke, Isabel Meadows, Ryan Mikles 36 • SMU LOOK

The Boys Are Back From Left: Hoodie: Vince, $485 Pants: Stylist’s Own Sneakers: Golden Goose, $495 Tee: Civilinaire, $44 Vest: Uniqlo, $49.90 Pants: Stone Island, $343 Shoes: Stylist’s Own Hoodie: Kith, $160 Pants: Stylist’s Own Shoes: Common Projects, $425

Spring/Summer 2020 • 37

Say Cheese From Left Reuben wears: Vest: Uniqlo, $49.90 Sam wears: Tee: James Perse, $70 Hoodie: Kith, $160 Hat: Madhappy, $35 Watch: Vintage Bvlgari Trace wears: Tee: Civilinaire, $44 Shirt: Club Monaco, $98.50 Pants: Stone Island, $343 Sunglasses: Tom Ford, $375

38 • SMU LOOK

Skater Boy Vest: Uniqlo, $49.90 Sneakers: Golden Goose, $495 Sunglasses: Ray-Ban, $154

Spring/Summer 2020 • 39

look back

feels like it’s

By Mary-Wesley Maddox

The 2019 football season was monumental for SMU, as we saw the Mustangs finish with 10 wins for the first time in more than two decades. As the weeks of wins continued, many parallels were drawn between this season and the historic undefeated season of 1982. The 8-week undefeated streak had many alumni reminiscing, and it was a welcomed improvement from past seasons.

Fashion and style trends from 1982 also came back around. On game days in 2019, you could find highwaisted, light wash jeans Photo Courtesy of SMU Rotunda and puff-sleeve tops and dresses, headbands and even Courtesy of SMU Rotunda bright, colorful makeup.

Students were even using disposable cameras introduced by current President R. Gerald and film to get that vintage photography look. Turner at the first game of the 2000 season, But some things have changed since ‘82, against the University of Kansas. Students like the addition of the 32,000-seat Gerald and alumni gathered together under tents J. Ford Stadium in 2000. In 1982, students lining the Boulevard, and it has remained a tailgated out of their cars before games at beloved tradition ever since.

Texas Stadium in Irving. Today, they tailgate The 1982 season was then-Head Coach on Bishop Boulevard. “Boulevarding” was Bobby Collins’s first, and it added momentum

40 • SMU LOOK

to the previous two winning seasons. SMU football won the Southwest Conference Championship and the 1982 Cotton Bowl, held on New Year’s Day. The team continued to have successf ul seasons under Coach Collins.

But the program was hit with the NCA A “death penalty” after being investigated for bribing recruits, and the 1987 and 1988 seasons were canceled. SMU is the only football program to have ever received this harsh punishment, and it has had trouble recovering.

I n 2 019 howe ver, t he team performed very well in the A merican Athletic Con ference a nd made a bowl game for the f irst time since 2017.

Dedicated students traveled to Boca Raton to see the team play Florida Atlantic over winter break. Despite the 52-28 loss, this game was still a milestone for the SMU Football program. Many Mustang fans hope that the 2019 season started a streak of more winning seasons not seen since 1982.

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