The Rebel Issue

no. 36

April 2018

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table of contents

03 masthead 04 contributors 05 editors' letter 06 faces + spaces: Moriah Richardson Get to know this year's co-director of Burlesque and the space where her fellow performers live their own truths 08 beauty industry shakeups One STITCH writer examines the brands that are challenging the beauty industry's long-established norms

10 ladylike "Many of us have inherited boundaries that are unnecessary and unkind, I am an advocate for doing away with over-thinking it, and claiming that freedom moment to moment" 20 the retail revolution Brands today are changing the shopping game, digitizing fashion, and offering completely personalized experiences

22 faces of rebellion Learn about the Northwestern students epitomizing rebellion through their styles and identities 27 fashion forward As fashion continues to take on social, cultural, and political importance, it is only fitting to pay homage to fashion's most progressive trends and the people rebellious enough to start them

32 wreaking havoc 1990s grunge meets 21st century street style as misfits and rule breakers make statements with leather, mesh, camouflage, and band tees 40 last word: haircut rebel

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CO-EDITORS IN CHIEF Amber Cline and Rachel Lefferts MANAGING EDITOR Emily Ash

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CREATIVE DIRECTOR Renée Jacoby SENIOR EDITOR Christian Welch TREASURER Kay Veikos CO-DESIGN EDITORS Rachel Price and Angela Cheng

DESIGN TEAM Katherine Steiner, Jessie Paridis, Aysha Salter-Volz, Sumin You, Cindy Luan, Crystal Gong, Kathy Duan, Michela Ferrari, Birdy O’Conor, Ariela Deleon

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PRINT EDITOR Rachel Burns INTERIM PRINT EDITOR Haley Glazer INTERIM ONLINE EDITOR Eden Lichterman

STAFF WRITERS Lexi Schiff, Emily Chaiet, Emily Wang, Mia Hirsch, Jean Sanders, Rachel Orbach, Lilly Pace, Alex Dickey, Sofia Sanchez

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CO-DIRECTORS OF PHOTOSHOOTS Sage Ressler and Nina Wescott DIRECTOR OF ONLINE PHOTOSHOOTS Helena Kalman

STYLING TEAM Rachel Gradone, Erica Cantor, Sam Milstein, Emily Burns, Anya Joseph, Finn Hewes, Michelle Lujan, Elizabeth Zhang, Brianna Bilter, Sanchita Sen, Joyce D’Aprile

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CO-PHOTOGRAPHY EDITORS Melissa Cagan and Charli Hu

Teased pigtails and I’m still a fan

STAFF PHOTOGRAPHERS Michelle Yun, Louis Lu, Jonathan Dai, Luke Kleekamp, Jodie Wei, Caroline Ward, Paris Wang, Rachel Mendelson

of the look

DIRECTOR OF MULTIMEDIA Kayla Reardon MULTIMEDIA TEAM Sydney Stein, Gabrielle Silva, Emily Orr, Gibran Wirjawan, Karam Hansen, Maria Valencia

CO-DIRECTORS OF CORPORATE Hannah Curcio and Danielle Cohen CORPORATE TEAM Sydney Agus, Juliet Sage, Phoebe Chase, Vy Duong, Andie Steinberg, Joley Schneider, Linda Zhang, Samantha LiVigni

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SOCIAL MEDIA TEAM Brooke Delaney, Macon Bianucci, Ridley Rochell, Courtney Schaf, Emma Kluever, Zoe Grossinger, Stella Kleynerman, Blaine Duffy, Christine Marella DIRECTOR OF RECRUITMENT Patricia Tang

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contributors

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Angela Cheng Rochester, MN

Caroline Ward Wellesley, MA

+ Sophomore, Co-Design Editor + Major: RTVF + Define rebellion in your own words: resisting oppression + A rebel you admire: Gwendolyn Gissendanner

+ Sophomore, Staff Photographer + Major: English + Define rebellion in your own words: an act that purposefully defies expectations and authority + A rebel you admire: Terry Tempest Williams

Sofia Sanchez Galena, IL

Emily Burns San Jose, CA

+ Freshman, Staff Writer + Major: International Studies + Define rebellion in your own words: the rejection of what is acceptable and even resisting your own desire to conform at times to instead gratify what your intuition whispers to you + A rebel you admire: Solange

+ Freshman, Stylist + Major: Journalism/English + Define rebellion in your own words: being your truest self and taking part in your deepest passions, even when you know others may have their judgments toward you for it + A rebel you admire: Princess Diana

editors' letter

It’s no secret that we’re living in a divisive time. Arising out of this collective anger is a motivation to change things, to resist.

People are speaking up, and they’re doing so through fashion.

Whether it’s the #TimesUp blackout at the Golden Globes or the myriad of brands at New York Fashion Week expressing their stance on political realities, fashion is proving its value as a powerful tool for promoting social change.

The beauty and apparel industries are taking note. This past year alone, brands from Fenty Beauty to Glossier have taken stands against a lack of inclusivity in the realm of beauty (pg.

8). Further, the increased personalization and digitization of the retail industry, spearheaded by a few maverick brands, are challenging the brick-and-mortar shopping experience, in turn transforming the way we consume fashion (pg. 20). Long gone are the days of playing it safe.

Beyond red carpets, runways, and retail stores, rebellious attitudes trickle down to an individual level. While fashion is indeed riding national waves of change, the personal act of putting on clothing can empower us to defy industry trends, social norms, and even our past selves. In Faces of Rebellion (pg. 22), Sofia Sanchez gives us a glimpse of students right here at Northwestern going against the grain through beauty and fashion; from these few profiles, it becomes evident that rebellion is a highly personal concept. Meanwhile, staff writer Rachel Orbach opens up about how changing her look has allowed her to physically reflect the changes she has experienced during her first quarter at Northwestern, an act of both personal acceptance and resistance against her pre-college self (pg. 40).

Throughout our last year as Editors In Chief of STITCH, we’ve taken risks of our own. While we still have a ways to go, we’ve challenged non-inclusivity in the fashion industry by attempting to represent the entire range of identities in the Northwestern community in our organization and physical magazine. We’ve strived to stay on top of realities in the political, social, and cultural landscape of the country, while staying true to STITCH’s unique voice and place on this campus. We’ve cut back on print distribution to amplify our digital presence and created a new position dedicated to unifying STITCH’s voice across platforms.

We want to say thank you, because none of it would have been possible without the help and support we received from all angles.

It’s been a good four years as a part of this organization, getting to hang out with and learn about some of the most interesting people on this campus. With that, we say farewell and confidently pass the torch to Rachel Burns and Emily Ash as the new Editors In Chief of STITCH. Don’t be afraid to set fashion free. xx Amber and Rachel Co-Editors In Chief

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Get to know this year’s co-director of Burlesque and the space where she and her fellow performers live their own truths

Faces+Space

: Moriah Richardson

By Emily Chaiet 6

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I meet up with Burlesque co-director Moriah Richardson at Lutkin Hall, the location of this year’s show. Currently, there is a lecture taking place and students staring at computer screens fill the seats. But in less than a month, the floor will be covered with glitter, the stage will be filled with girls wearing pasties, and bored students will be replaced with a lively crowd. “I think we really transform it and bring this energy to it that’s not necessarily always there,” Richardson says.

Richardson never intended to be a part of Burlesque, yet in the glitter-filled theater, she found a place that gave her confidence and inspiration. After ending a bad relationship during her freshman year, Richardson went to watch her friend perform in the Burlesque show. By the end of the last routine, tears filled her eyes. “You could feel the confidence radiating from the stage,” she says. “I knew I had to do it.”

Although not entirely certain of her abilities, Richardson decided to audition for Burlesque her sophomore year. Now a senior, Richardson says her confidence has skyrocketed thanks to the strength and comfort that Burlesque has provided her with since then.

Burlesque aims to be a freeing environment where performers can express themselves through their bodies, according to Richardson. It is a space for people to push against society to “live their own truths.” Along with its rehearsals, Burlesque also holds confidence workshops to improve the performers’ self-esteem. In one of these confidence workshops, performers write love poems to themselves in which they both reflect on their insecurities and highlight what gives them confidence.

“We all have the capability to love ourselves,” Richardson says. “It’s difficult but we can do it.”

Richardson, along with the rest of the Burlesque performers, wants to redefine the meaning of sexy. They are rebels in every sense of the word, not conforming to one definition of what society deems beautiful. The eclectic cast consists of people of all ages, shapes, races, ethnicities, gender identities, and backgrounds. Burlesque gives a spot to anyone who auditions, allowing each member to choreograph their own routines however they wish. At 140 people, this year’s show has the biggest cast yet.

Richardson has used the space to discover herself and her confidence. Others have used to space to openly talk about depression, body image, and other taboo topics. “A lot of cast members joke about ‘Burlesque therapy’ because it is a good check-in for themselves,” she says. “People ask, ‘Why are you doing Burlesque?’ and they go, ‘Because I needed it. I needed this space. I needed to push myself to do this reflection.’”

After three years of being in such a welcoming space, Richardson says she feels like she has transformed into a more self-assured person. While she has yet to decide what her piece in this year’s show will be about, she hopes it will

reflect her transformation and growth after an earth-trembling experience with sexual violence.

Richardson will be among several other performers living their truths this April. When Lutkin Hall is covered in glitter and the spotlight is shining centerstage, it is no longer a lecture hall– it is a space of acceptance, love, and appreciation.

“Nobody is entitled to share this with you, but you’re allowed to be here, and we ask you to share this with us,” she says. “I want people to take on other people’s stories and other people’s happiness, and other people’s joy. I want them to be open to it. I want them to be honored by it. I want them to feel that radiation and realize their own capabilities to do that.”

“Nobody is entitled to share this with you, but you’re allowed to be here, and we ask you to share this with us.”

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One STITCH writer examines the brands that are challenging the beauty industry's lOng-established nOrmS

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or years, the beauty industry has relied on a binary conceptualization of gender and thin, white beauty ideals to sell their products. From skin-lightening creams to photoshopping models to look unrealistically thin, brands have further pushed these European beauty standards on consumers, creating a toxic culture that does not represent the majority of women and men. But recently, some beauty brands have taken a risk by ditching these ideals and promoting messages of inclusivity and diversity. And these risks have paid off—inclusivity-based brands like Fenty Beauty and Glossier have only grown since their conception.

When Rihanna dropped her 40-shade foundation line under the brand name Fenty Beauty in September 2017, it received immediate adoration. According to The Cut, a handful of the darkest shades immediately sold out. Since the release, according to WWD, Fenty Beauty has been projected to outsell brands like Kylie Jenner’s Kylie Beauty and Kim Kardashian’s KKW in the upcoming months, and has already outsold Kat Von D. Unsurprisingly, according to Slice Intelligence, Fenty Beauty had the highest amount of black and Latinx customers amongst all makeup brands examined, showing the high demand for and importance of shades that match all skin tones.

Similarly, CoverGirl became a beauty industry risk-taker when it selected makeup artist James Charles to be its first male spokesmodel in October 2016. In early 2017, Maybelline followed in CoverGirl’s footsteps by announcing influencer Manny Gutierrez, or Manny MUA, as the newest face of its Big Shot Mascara campaign. Gutierrez, who identifies as gay, shows how Maybelline successfully challenged hyper-masculine culture and the persistent idea in the beauty industry that only women wear makeup. With so many successful male beauty influencers on social media, it was about time that established brands began taking risks to challenge gender norms and promote inclusivity through their platforms.

CoverGirl further pushed the beauty industry’s boundaries in late September 2017 by announcing that its newest ambassador

“As these few established brands successfully challenge beauty industry ideals, they have taken strides tOward fOstering a culture Of diversity and acceptance." would be 69-year-old model Maye Musk. Using an older model as a brand ambassador was previously unheard of for such established beauty brands. By including a model who does not represent a youthful beauty ideal, CoverGirl affirmed the power of age diversity in the makeup industry.

Most recently, cult beauty brand Glossier took a stand against typical beauty norms with its Body Hero campaign. The campaign, which debuted in September 2017 and promoted the brand’s newest body products, included women with five different skin tones and body types. With billboards in large cities across the country displaying such a wide range of women, Glossier reinforced its mantra that beauty is about being the best version of yourself.

As these few established brands successfully challenge beauty industry ideals, they have taken strides toward fostering a culture of diversity and acceptance. Considering the growth and popularity of these groundbreaking brands, those that remain exclusive will undoubtedly need to step up or prepare to be outsold in a new era of inclusion and representation in the beauty industry.

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“Many of us have inherited boundaries that are unnecessary and unkind, I am an advocate for doing away with over-thinking it, and claiming that freedom moment to moment.”

Sarah Bahbah, LA-based artist

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On Liana: Forever 21 jumpsuit; Liz Claiborne shoes On Alisha: Crossroads (brand unknown) shirt; Aritizia pants; • APRIL 2018 Doc Martens shoes

Photographer: Caroline Ward Photoshoot Director: Sage Ressler Stylists: Erica Cantor, Emily Burns, Joyce D’Aprile, Elizabeth Zhang,•Anya Joseph APRIL 2018

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On Emmanuelle: Forever 21 dress, Geox shoes

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On Nada: Akira dress; Steve Madden shoes

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On Adri: American Apparel shirt, Aritizia pants, Steve Madden16 shoes

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On Amy: Urban Outfitters dress, Doc Martens shoes

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On Sophia: Urban Outfitters 18 pants shirt; Aritizia

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Kendrick the Rebel.

One STITCH writer explores why the Grammy Awardwinning rapper is a rebel in more ways than one

By Lexi Schiff

In 2016, the rapper and activist Kendrick Lamar emerged on the Grammys stage, heading a chain of shackled back-up dancers wearing mock-prisoner uniforms. His band played morosely from behind bars on both sides of him, and after carefully detangling his own chains, Kendrick approached the microphone and began his first verse from “The Blacker the Berry” – directed at white America.

With Kendrick’s last line, the performers shed their shackles as the lights went dark, and their once prisoner-like uniforms revealed neon tribal patterns – turning their wardrobe of oppression into a liberative representation of African culture. Kendrick, stumbling over to a second stage, transitioned to another song on To Pimp A Butterfly’s album, “Alright,” as performers in African dress freely danced around the almost furious artist. As an article in The Atlantic described it, “He’s calling for a ‘conversation for the entire nation,’ illuminated by a fire that has been roaring for longer than America has existed.” The astounding performance concluded with Kendrick’s silhouette on top of a projection of Africa’s borders with one word written inside – “Compton.”

This year, at the 2018 Grammy Awards, Kendrick took the stage again – this time in a sea of marching dancers dressed as soldiers, performing his song “XXX” in front of a moving backdrop. With an eerie voice singing “America, God bless you if it's good to you,” the dancers marched in a moving square, revealing Kendrick under a bright light in the center. Later in the performance, American stand-up comedian and actor Dave

Chappelle interrupted, “I just wanted to remind the audience that the only thing more frightening than watching a black man be honest in America is being an honest black man in America.”

Although these performances undoubtably shine a spotlight on the mass incarceration of black people and modern day racism in America, they are truly a theatrical drop in the ocean compared with the rest of Kendrick’s work on the Black Power Movement. Winning the Grammy in 2016 for Best Rap Song, Kendrick’s black anthem “Alright” has become a poignant mantra for many – his famous words “we gon’ be alright” chanted loudly across rallies and protests all over the nation.

Now, along with crafting incredible, and necessary, politically-charged music performances, Kendrick’s status as a black role model and philanthropist has given his talents an enormous scope.

Fashion has always been political, but recently with the Time’s Up and #MeToo movements boldly supported at the 2018 Academy Awards, it’s never been clearer how much of a political statement fashion can make. And political fashion statements are Kendrick’s bread and butter. Shocking to even the designers themselves, in Kendrick’s hit music video for “Humble,” he wore a sweatshirt from emerging LA brand Second/Layer that read “Dreamer.” The video generated 6 million views in 24 hours, and compliments immediately poured in about the brand’s clothing.

Kendrick Lamar has undoubtedly become one of the biggest names in music over the last few years. But his music is more than just catchy. Through his music and larger platform as a celebrity, Kendrick has consistently rebelled against injustices in society.

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The Retail Revolution

By Mia Hirsch Brands today are changing the shopping game, digitizing fashion, and offering completely personalized experiences. This digital shopping revolution begs the question: will we ever see the inside of a storefront again?

t’s no secret that Amazon has completely overtaken the world of online shopping, offering customers a one-stop shop for everything from clothing to groceries. Though Amazon’s success might be impressive, it is not all that surprising. Our society has always sought to simplify life – to mitigate stress and to free up time for us to focus on important things, like Netflix and Cardi B. In an age of retail revolution, a few entrepreneurs have emerged to establish themselves as pioneers of the new normal. Their brands are stationed to dominate the retail market in 2018, with platforms designed to appease our craving for simplicity and our social media-driven obsession with appearances. Principal of these pioneers is Stitch Fix, an online personal shopping service that promises to “evolve with your tastes, needs, and lifestyle.” Each “fix” consists of five pieces of clothing that the buyer receives for a $20 styling fee, which can be applied as a credit toward anything kept in the shipment. The customer can then choose to keep and buy as many items as he or she pleases and return the rest for free using Stitch Fix’s prepaid shipping labels.

Founded in 2011 by J. Crew veteran Erin Morrison Flynn and Harvard Business alumnus Katrina Lake, Stitch Fix gained national attention this past year after announcing plans to file for an IPO. In an interview with Bloomberg News, Lake touted her company as a “combination of art and science,” relying heavily on data and algorithms to form collections that fit a customer’s unique style. Though profiting from personalization is Stitch Fix’s end goal, the company understands that merely tracking users’ click history does not capture the whole of a customer’s personality.

For this reason, the brand constantly seeks feedback from customers, analyzing purchase history and conducting routine surveys.

Stitch Fix’s business model is innovative and unique, but it does not lack competition. Rent the Runway, founded in 2009, is a veteran brand

of the evolving tech fashion space, and over time it has established itself as a household name. Rent the Runway’s slogan, “Buy Less, Wear More,” refers to the company’s platform that lets customers rent designer apparel for a given amount of time and then use prepaid shipping labels to return the pieces. Though Rent the Runway differs from Stitch Fix in its approach to online shopping, both companies capitalize on the growing belief that in-store shopping is a hassle. Both aim to make online shopping both a quicker and easier process, while also appealing to the fashionistas that enjoy the personalized, fun experience of shopping instore.

It seems that challenging our current definition of what it means to shop is now trending. With an increasing number of companies vying for recognition in the virtual spotlight, it will take more than just fancy graphics and a 24/7 chat feature to stand out. That is why menswear brand Bonobos created an entirely new approach to revolutionizing the shopping experience, and the company’s efforts have been making serious waves in the fashion industry. Bonobos launched in 2007, selling menswear exclusively online. Once the brand expanded and began to sell suits and dress pants, customers lamented that the dubious sizing of menswear required that they try on items before buying them.

Then came Bonobos founder and Stanford Graduate School of Business alumnus Brian Spaly’s ingenious idea: Guideshops. These physical store locations, first tested in New York City, were places where Bonobos customers could go to peruse and try on products prior to making e-commerce purchases.

Bonobos essentially offered shoppers a place to try but not to buy, at least not yet. The novel idea seemed questionable at first, but these Guideshops soon grew to become an integral part of the Bonobos brand, eventually catching the attention of major fashion retailer Nordstrom, which invested $16.4 million in Bonobos to sell the brand in Nordstrom stores and online. he success of Bonobos’ Guideshops demonstrated that shoppers still crave the opportunity to physically see and try on pieces before buying. This is the greatest challenge e-commerce brands face today, and it has promoted

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“Could this trend mean the end of traditional brickand-mortar stores as we know them?” the development of a variety of new technologies and services aimed at combating the issue. Included in these innovations is True Fit, a data platform that predicts the best apparel or footwear size for a given customer based on his or her own preferences and buying trends. Many notable retail companies such as Macy’s and Bloomingdale’s use True Fit on their sites to give customers the best size estimate possible for a given item. It may not always be perfect, but True Fit gives many shoppers the comfort they need to buy, contributing to the growing trend of online over instore shopping.

Could this trend mean the end of traditional brick-and-mortar stores as we know them? While it is true that companies like Macy’s and Kohl’s have had to close stores due to the rise of Amazon and e-commerce, the idea that shoppers will soon rely entirely on digital purchases sounds egregious to a fashion-lover like me. There is still something to be said for the experience of shopping, sometimes hectic and exhausting, but oftentimes exciting, playful, and a much-needed respite from a dreary workday.

I know that some of my favorite memories growing up involved running through the long walkways of the mall, oohing and ahhing at window displays and feeling elated trying on the perfect dress for a party.

Stitch Fix, Rent the Runway, and Bonobos may likely stand the test of time, but their rise does not necessarily mean the fall of the store-based brands we already know and love. It is time for Macy’s, Nordstrom, and Bloomingdales to take on a new challenge – not to give up on brick-and-mortar just to amp up their online presence, but instead to completely revolutionize the in-store shopping experience. Robots that fetch a different size for you, artificial intelligence makeup tutorials that match you to your perfect shades, a virtual reality shoe palace?

The possibilities are endless. Game on.

Faces of Rebellion

Learn about the Northwestern students epitomizing rebellion through their styles and identities

By Sofia Sanchez

How would you describe your style?

Queer, in every sense of the word.

Who or what are your influences?

I spent my preteen and early teen years being super emo – like, My-Chemical-Romance-and-gaugedears-and-crowd-surfing-at-gross-venues-in-NewJersey emo. So that’s definitely something that has stuck in some shape or form fashion-wise. But at the same time, I would like to think I’ve somewhat evolved from that, so I can also appreciate when Yara Shahidi steps out in something absolutely fabulous.

Often people reject rebels without a cause – what inspires you to go against the grain in terms of fashion?

Gender representation plays a huge factor into how I dress. As somebody who falls outside the binary, that plays a big role in how I pick what I’m wearing, in terms of fit, pattern, etc. Sometimes I feel more like one thing than the other, so I use my clothes and makeup as a big part of expressing that.

Is rebelliousness a phase?

Depends on who you are, and what you’re rebelling against. As a black queer non-binary “female,” my very existence in a heteronormative, white patriarchal society forces me to be a rebel. If the future society is all about afro-futurism, though, then you’ll find me going along with it completely.

Where does the confidence come from to express yourself? What is the inspiration behind the visual choices, such as the the colors you choose to dye your hair?

I think it heralds back to my adolescence and loving punk rock music where you were weird if you didn’t have a bunch of tattoos or colored hair. Now I have the means to express myself that way, so I do, but kind of with my own spin. Being able to go to Afropunk Festival for the last couple of years also plays a big part in how I express myself clothing and hair-wise. All the joy and self-confidence I see in the people there every year is super motivational.

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Adia Fielder Hometown: Somerset, NJ Year: Freshman Major: Psychology and Gender Studies Pronouns: They/Them/Theirs Instagram: @fakedeepcentral

Sharmain Siddiqui Hometown: Morton Grove, IL Year: Sophomore Major: South Asian Studies, Environmental Policy & Culture Pronouns: She/Her/Hers Instagram: @antisharmain

Define a rebel.

Rebellion is simultaneously resistance and vulnerability and truth. Rebellion is engaging in politics of compassion and self-love and community building.

How would you describe your style?

My style is reflective of me in that it changes constantly.

There are days when I feel invincible and militant and am decked out in all black; days when I want to cultivate and create and dress eccentrically; lots of turtleneck days too.

I always wear the gold earrings my grandmother got me from Mecca – I'm a big fan of over-the-top Pakistani earrings, and in the summer I put three triangular dots on my chin to ward off evil eye. Being adorned in traditional desi gold at all times, especially when coupled with western outfits, is an intimate reminder to me of the almost exiled nature of my identity. Honestly, the most consistency I had in wardrobe choice was my Avril Lavigne phase in middle school, but I've been told I have a tendency to dress like Angelina Jolie in “Gia” post-addiction!

Who or what are your influences?

I grew up being embarrassed to go to the grocery store with my mom if she was in Salwar Kameez, and for a long time I would refuse to put mehndi on my hands during Eid because white kids at school would make fun of me.

As I got older and more invested in social justice, though, I had an awakening – this understanding that while I was bathing in my internalized self-hatred, the same folks that created it within me were wearing kurtis for fun, bindis on their forehead to festivals, henna tats on their hands, even darkening their eyebrows although continuing to make fun of brown girls for being hairy. Not only were they complicit in this form of cultural imperialism and bastardization, it was also without any repercussion. I think this infuriation allowed me to create my own, quiet revolution – one rooted in fashion.

Often people reject rebels without a cause, do you have a "cause" or something that inspires you to go against the grain in terms of fashion?

Although I am not formulaic at this point, I always go back to what feels simultaneously good and uncomfortable. I wear Jhumpkas, I wear kurtis as dresses, and you can hear the payaals on my ankles jingling from miles away. I am not intentional in what I wear necessarily, but I am always intentional in wielding the ways the world has oppressed me into tools and products of self-love. It is a confrontation of my identity that refuses to hide or bow down doubly to the whims of my oppressors and my internalized racism.

So in that sense, my cause is my own decolonization, while engaging in the project of self love.

Is rebelliousness a phase?

No. Rebellion is the student of the revolution, a soldier in the army of the people everywhere.

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How would you define a rebel?

A rebel is someone who acts in opposition to an existing social order. In terms of self expression through fashion, this means resisting the codes which bind us to certain identities and subjectivities which are most legible and incorporated into social spaces – at NU, the respectable, pre-professional – someone who is taken seriously by professors and potential employers, which often fall into the dominant class and racial identities.

How would you describe your style?

I try to look sophisticated and thoughtfullyconstructed because I do want to be taken seriously – even if I am going against the norm. I'm very into an aesthetic of reappropriation, and I think that's necessary as an androgynous person, because clothes aren't really made for us. By reappropriation, I mean repurposing garments that maybe were originally intended for a certain gender and demographic, and incorporating it into your own style. This doesn't necessarily mean being ironic, I actually find that annoying and apathetic. But instead cultivating a uniquely queer aesthetic.

Often people reject rebels without a cause, do you have a "cause" or something that inspires you to go against the grain in terms of fashion?

I want to problematize the sense of intention and militance that is associated with the "rebel." I think for lots of people, their culture may not align with the dominant one, and so to say they are actively rebellious doesn't really feel right. Deviant self expressions can be rebellious when compared to the normative culture, but to the individual who expresses them, they simply reflect their true nature, or the environment and people that've most shaped them. I'm fortunate that my class and race identities ordain me with a legibility that allow me to f*** around in the gender realm. But still, it's not something that fulfills a political agenda or something like that, but rather an expression of a more essential self.

What does fashion mean to you? Are trends something you are conscious of when putting an outfit together?

Fashion is culture and the material codes through which we perform our subjectivity. How we dress is entirely shaped by our environment and our proximity to power.

Your style gives off an androgynous vibe – what's the process behind putting this vibe together through clothes both mentally and creatively?

I started to buy clothes for drag and through that process became more in tune to women's fashion.

Now I only shop for women's clothes. My makeup style definitely reflects drag artistry in terms of highlighting and reshaping features. Beauty is all a performance. There's nothing natural about it.

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Samuel Berston Hometown: San Francisco, CA Year: Sophomore Major: Gender & Sexuality Studies and Social Policy Pronouns: They/Them/Theirs Instagram: @bidet.buffet

How would you describe your style?

I like to joke with my friends that I’m “poor couture.” I really like mixing elegant and decadent pieces that I can find from the thrift store, through borrowing from friends, and making it look upscale. Generally, I don’t like wearing something that’s too tight or that inhibits mobility so a mixture of comfort and out-there style.

You mentioned that you don’t like a rebel without a cause, what’s your cause?

Fashion doesn’t have to cater to one gender. I’m very much aligning myself with a feminist-oriented theme and a queerfriendly theme. I want to make clothing more accessible to all types of bodies and people. I got to a point where I was like, screw it. Clothes don’t have gender. It’s marketed, yeah, but if I put on a dress, that dress isn’t going to be like, "Don’t wear me."

It’s a piece of cloth. Someone else in the room might feel more comfortable taking a chance with style on something they feel insecure about when they see that I’m being true to myself and dressing how I please.

I push myself especially when I go out in more public spaces [because] it’s definitely easier, I think, on campus to experiment [since] college kids are more open minded, but sometimes going out into Evanston, the city, or even when I’m back at home can be a little bit of a risk. But I know that I might be giving some more visibility to someone else that may need it.

How has Northwestern affected your rebelliousness?

I think it gave me gave me a space where I could push the envelope a little bit more. I started being more of myself back at home too. I’ve noticed that when I dress the way I please, I feel more comfortable saying what’s on my mind.

Can a rebel be a follower?

I would hesitate to call rebels followers, but I think they can appreciate others. A rebel can have community.

How do you feel when people call you “extra”?

Often times the people who say that are projecting. It’s vicarious because they want to do that but they’re too scared to take the risk. So when my friends are teasing me for that, I’m like, “Shut up. You’re just salty because you didn’t have the courage to do it.” I’m going to have fun and yeah, I like some of the attention, but who am I hurting?

Sayeed Sánchez Hometown: Gurnee, IL Year: Sophomore Major: English & African American Studies Pronouns: He/Him/His Instagram: @beauxho97

Jack Posey AKA "Ken Doll Gender" Hometown: McLean, VA Year: Sophomore Major: Theatre, Performance Studies minor Pronouns: He/Him/His, She/Her/Hers in drag Drag insta: @kendollgenderofficial

How would you describe your style as a drag queen?

My style as a drag queen is an embodiment of the mission of my character, Ken Doll. She's a supermodel who's a double agent of whatever nation you think she serves.

She's a rogue who's going to use her wit and her stunning looks to vanquish fascist d*****bags of all shapes and sizes the world round. She's a black widow, so she has to give a little warning with her clothing that says "I'm gonna end you either way, but if you try and come for me, it'll end even worse for you." I'm talking lots of leather, latex, vinyl, ripped denim, and truly sadistic heels. But make it fashion.

Do you have a "cause" that inspires you to go against the grain in terms of fashion?

One of the other core concepts of my character is that she appropriates the aesthetics of, say, a Kendall Jenner (Get it? "Ken Doll Gender" sounds like Kendall Jenner, except I'm a gorgeous man who's disrupting notions of gender) while subverting everything that she is – a completely apolitical, ignorant, bourgeois idiot. I can spend $10 at Lost Eras and Dollar Tree and make a look that makes me look and feel like Kendall Jenner about to hit the runway, and with that, I'm exposing how powerless she truly is.

You don't have to be Calabasas born-and-raised to be a supermodel – you can be a 6'2" dude wearing thrift store couture who's living the fantasy. Anyone can do it!

How has Northwestern affected your style?

People at this school really love to bestow certain titles upon themselves ("feminist," "radical feminist," "intersectional feminist," "woke") without actually doing their research into what those words mean or making the choices and taking the actions that are necessary to be in service of those ideals. We as white people need to do better and hold ourselves and each other accountable for that s***, among many, many other things. The trend of clothes that tout really reductive "woke-isms" and are, like, without a doubt sold at Forever 21 or Urban Outfitters are as "rebellious" as McDonalds' food is "100% all-natural."

Care about actions and results rather than earning (or wearing) labels. Resisting fascism in all its forms should not be an aesthetic – it's a set of choices and actions that can indirectly influence your aesthetic.

Is rebelliousness a phase?

Rebelliousness is a way of looking at the world, and a title that's earned everyday. If someone describes themselves or their style as "rebellious," it's probably a phase. We need gatekeepers like STITCH to bestow the title upon people from an informed standpoint. Thank god for academia.

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What inspired you to start doing drag?

A pathological need for attention, sublimated into a desire for being a living, breathing work of art that can delight and inspire others. But again, I have to earn that s***. Being a drag queen doesn't mean you're changing the world just by existing – you have to think and work harder if that's your goal.

N O I H S FA ard w r o F

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or ops, e t p av cro irts, ms h nd k e s t i i a in se Or m tury, the women the ? s t of an the cen sses ne of nd p e 21st think of i e r h d e th ap ly yb so istor ieces? In we rare m the wr fashion i ghout h e t u h p . Fro 80s, Thro t is t e tha red ion Wha ear-inspi onplac red them of the 19 finition. ed fash s us ge ee mm its sw f-de men e so co first pion ower su inine sel ters have t challen our a m p t y beco ners who uctured s for fem trendse oman th utfit for le. e r w l d t g an o t possib desi to the s ful vehic inists, an modern n o r s w utfi 1970 ost powe ners, fem ge of the ou thro e your o y a g d the m es, desi erent im ext time who ma g ff n the a tray a di So the e women r . h s o to p r norm forget t e ’t gend out, don t nigh

BLOOMERS Bloomers, popular in the 1850s, are the great-grandfather to the leggings we so dearly love today. Amelia Bloomer was a prominent women’s rights activist and the first woman to own and operate a news publication, called The Lily. Bloomer used The Lily to popularize a new standard for women’s fashion that focused on comfort over restrictive and unhealthy corsets with layers of stiff skirts, centered on the “wants and necessities” of the women wearing the clothes. Women enthusiastically adopted the trend, only to be faced with harassment and ridicule by the press and public. Thanks to the persistence of the women who defied societal pressure, pants gradually became an acceptable style for women.

THE INCROYABLES The aftermath of the French Revolution’s Reign of Terror birthed the Incroyables, young Parisians who flaunted unconventional fashion, ignoring executable offenses like wearing royalist emblems or colors. The women, known as Les Merveilleuses, wore red chokers reminiscent of execution by guillotine along with diaphanous, gauzy dresses.

This early form of fashion rebellion by youth culture inspired many more in the future to use fashion as a way of self-definition when other forms of self-expression are constrained.

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LOLITA AND GANGURO FASHION In Japan, Lolita and Ganguro fashions are forms of social resistance against constricting traditionalist expectations of Japanese women. Ganguro fashion, featuring a heavy tan and noticeable makeup, challenges the traditional Japanese ideal of beauty: light skin along with neutral clothes and makeup.

Lolita fashion is the exact opposite, focusing on elements of traditional Japanese beauty, like demureness, while including historical European styles that rebel against Japanese nationalism and homogeneity. This rebellion against the constricting expectations of how Japanese women should look and act has opened the door for more forms of self-expression while broadening society’s view of the female ideal.

FEMINIST FASHION Even now, designers are constantly finding new ways to advocate for opening societal expectations of women. Dior’s first female artistic director, Maria Grazia Chiuri released a “We Should All Be Feminists” T-shirt, and a portion of the proceeds went to Rihanna’s charity, the Clara Lionel Foundation.

Meanwhile, Prabal Gurung included feminist quotes and references in his spring/summer ‘17 show. The Golden Globes all-black fashion made a subtle but powerful statement about how people were standing in solidarity for feminist empowerment.

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From pussy hats to quinceaĂąera dresses, rebels across the country have been speaking out through fashion, and brands have already begun to capitalize on the trend

By Jean Sanders

The 2018 Golden Globes red carpet was a sea of black cloth. Save a tiny handful of attendees, everyone was dressed headto-toe in black to support the Time’s Up movement, the goal of which is to raise money for and stand in solidarity with victims of sexual harassment across every industry. In response, E! Network decided that, rather than asking women which designers they were wearing, they would ask them the specific reason that they chose to wear black. This event was the perfect example of protest fashion: fashion not just for fashion’s sake, but instead fashion meant to spur a conversation about injustice.

Protest fashion has a long and storied history, but in recent years, it has become a trend, from marches in the streets to the floors of the senate to high school proms to runways during fashion week. The 2017 and 2018 women’s marches were flooded with pink pussy hats, worn to clap back at Donald Trump for his infamous “grab ‘em by the pussy” quote.

After a female reporter was stopped from entering an area outside the House Chamber in July 2017 because of her bare shoulders, congresswomen began to wear sleeveless outfits to challenge the antiquated dress code imposed on grown women. Shortly after, in Austin, Texas, young Mexican-American women stood on the steps of the state capitol building in their quinceanera dresses with sashes that read “No Hate” and “No SB4,” in reference to Senate Bill 4, which allows police officers to ask for proof of legal residency at any time.

Brands have also capitalized on protest fashion. Vaquera, a fashion label started in 2013 as a reaction to the lack of diversity in the current fashion scene, released a Handmaid’s Tale inspired collection and runway show, using fashion to reinterpret the Margaret Atwood novel and the recent Hulu series about a dystopian society in which fertile women are used as sex slaves. Furthermore, from a $25 Forever 21 shirt that reads “Feminist” to a $710 Dior white cotton tee shirt emblazoned with the words “We Should All Be Feminists,” retailers have certainly taken note of the ways in which they can capitalize on the political fashion trend.

This wave of protest fashion has certainly started conversations, but not all of them are complimentary. In response to the pussy hats worn at the women’s marches, the Facebook page for the march in Pensacola, Florida, posted the following status, which received over 1,200 shares: “The Pink P*ssy Hat reinforces the notion that woman = vagina and vagina = woman, and both of these are incorrect.

Additionally, the Pink P*ssy Hat is white-focused and Eurocentric in that it assumes that all vaginas are pink; this is also an incorrect assertion.”

Additionally, many thought that the black dress protest at the Golden Globes didn’t go far enough, as women still shouldered the burden of talking about these issues, while many men were,

per usual, asked about their professional work. And after Dolce & Gabbana poked fun at the waves of protests sweeping the nation with a $245 shirt reading “#BoycottDolceandGabbana,” Atlantabased musician Raury staged a protest while walking in the brand’s show and later said that the shirt made a mockery of boycotting, which actually has the power to change things.

Although some forms of protest fashion have been met with criticism, there is something to be said for those who choose to wear clothes that express what they see as an important message. Vogue’s chief critic, Sarah Mower, asked the question, “Can fashion be used as a valid form of protest?” Across the country, protesters and rebels are answering her with a resounding yes.

Wreaking HAVOC 1990's grunge meets 21st century street style as misfits and rule breakers make statements with leather, mesh, camouflage, and band tees

Photographer: Jonathan Dai Photoshoot Director: Sage Ressler APRIL 2018 32 Stylists: Erica Cantor, Emily •Burns, Joyce D’Aprile, Elizabeth Zhang, Finn Hewes, Brianna Bilter, Sanchita Sen

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On Edson: Hanes shirt, Pacsun pants, Timberland boots On Christopher: The Kooples sweater, thrift store jacket, Pacsun pants, Doc Martens boots On Megan: Japanese Fabric shirt, Topshop leather jacket, Urban Outfitters jeans (embroidery by Megan), Free People belt, Puma shoes

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On Rachel: Etsy•earrings, APRILUrban 2018Outfitters 37 shirt, J.Crew pants, Doc Martens shoes

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LLAAS STT W OR D

haircut rebel To accept a new version of myself, I cut three inches off my ponytail

By Rachel Orbach

Around two weeks ago, I did a very unRachel thing. Snatching a pair of scissors, I stood before my full-length mirror and cut off three inches of my ponytail as my roommate looked on in horror. Holding my damaged hair in my palm, I began to laugh: I had just channeled my inner Britney Spears.

As a child, a trip to the hair salon was a nightmare-and-a-half for my mother.

My Shirley Temple curls never extended past my shoulders, despite my dream of Hannah Montana’s long locks. In order to achieve that dream, I became a haircut rebel. While most people overcome their hair anxiety by their tweenage stage, mine followed me deep into my high school years. My dead, Keratin-laden hair desperately needed a severe chop for years on end, but I strategized and masterminded ways to escape my semiannual cut, continuing to burn my hair away.

Imagine my mother’s shock when I sent her pictures of my new, uneven hairdo.

After all the meltdowns and panic attacks that occurred throughout my childhood, the idea that I would casually cut my own hair was obviously concerning. My mother repeatedly asked if I was okay, my friends thought I had gone crazy, and the hairdresser in Chicago thought I had performed a crime against humanity.

Staring at my broken hair, visions of female television stars in sudden, chaotic, emotional hair-cutting scenes came to mind. Why do female characters experiencing some form of trauma oftentimes chop off their hair? What is it about our internal feelings that we outwardly show in our hair? In “The Newsroom,” Maggie cuts her hair to cope with the mental anguish she endured after voyaging to Africa. In “Degrassi,” Darcy

Edwards violently cuts her hair in reaction to being raped. My own mother once told me that the day after she underwent a traumatic experience, she made her way to the nearest salon and took up a Scarlett Johansson-esque pixie cut. There is clearly a pattern that when women face turmoil, they punish themselves by stripping off a source of their femininity – their hair – as if no longer deserving of this beauty.

Yet, I’m not undergoing any traumatic events at the moment, and I don’t believe that a shorter haircut is less beautiful or should be deemed a punishment for struggling. Regardless, the message that emotionally-distressed women cut their hair short to rebel against their feelings troubled me: was I too experiencing some form of a mental breakdown? Was this just teenage angst? What had college done to me?

Evidently, a haircut is not always a symbol of internal problems. Happy women too, in fact, get bobs. With all the new and exciting opportunities and memories of my first quarter of college, I designated myself a relatively happy person. I knew, however, that this aloof outlook toward my much-protected hair was telling of something, and I was determined to discover what that something was.

After much Google probing, a pattern emerged: cutting one’s own hair was a symbol of rebellion. In the past, I epitomized type-A, a goody two shoes galore, and always dressed to impress while wearing my straightened hair sleek, volume-free, and boring. So far in college, my behavior has been vastly different. My bed sheets are no longer tucked in, my grades

are not on par with those from high school, and my regular attire consists of an oversized sweatshirt and battered leggings. My roommate laughs at my type-B personality, and I laugh at these unexpected changes that have transformed my identity.

Freshman year of college is undeniably weird, and falling into past habits is understandable. However, college is a time to explore beyond academics and extracurriculars. By cutting my hair, I left my comfort zone. The dead layers were the remnants of my past that needed a change, so I took to the scissors and actively created that change. I didn’t consider the fact that one side would be undeniably uneven, that my customary layered look would be ruined, or the struggle I’d encounter to achieve a side braid – but deliberating every outcome takes away the thrill of living. My pre-college self hyperanalyzed every situation and possessed an unhealthy respect for consequences, but I’m learning to free myself from this obsessive habit and live a liberated, exciting college experience.

My DIY hair revolution was an adrenaline rush that I don’t think I’ll be repeating, but one year ago, my meticulous self would never have even remotely considered such a defiant act. But here I am – with my short hair and changed attitude – ready to challenge myself and delve deep into my

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Taking sartorial risks and not following other people is what makes you stand out.

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– Zac Posen

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