How can you use fashion to navigate tumultuous times? Is fashion a form of escapism or a mirror that reflects a concerning reality?
Hearts on Our Sleeves
Some articles of clothing have a nonphysical value to us. Here are the items that Wildcats hold close.
We explore a childlike sense of joy and play through pastel colors and dreamy lighting.
Fashion Is Emotional: Runway Shows Portraits
Models explore a range of emotion in a collage of visual feelings.
Here is a recap of all the iconic fashion shows that left an emotional mark on the industry.
A Color For Every Emotion
Learn which colors complement different moods in this "Inside Out 2" inspired piece.
EDITORS-IN-CHIEF
Austin Kim + Anna Souter
CREATIVE DIRECTOR
Elias Xiwei Fan
PRINT MANAGING EDITOR
Abigail Abdi
DIGITAL MANAGING EDITOR
Alexander Hernandez Gonzalez
SOCIAL MEDIA + MULTIMEDIA EDITOR
Alexander Hernandez Gonzalez
STYLING DIRECTOR
Grace Jordan-Weinstein
BUSINESS DIRECTOR
Annika Srivastava
DESIGN EDITOR
Rachel Smith
PRINT MANAGING EDITOR
Lauren Cohn
DIGITAL MANAGING EDITOR
Justine Fisher
PUBLIC RELATIONS DIRECTOR
Jeremy Lee
FINANCE DIRECTOR
Gabriella Burgos
DIRECTOR OF PHOTOGRAPHY
Keya Chaudhuri
DESIGN EDITOR
Wendy Zhu
BUSINESS TEAM
Jillian Canning, Elizabeth Casolo, Colleen Charchut, Jade Garcia, Allison Gould, Marin Holtrop, Ashley Kim, Rachel Kim, Ela Kopmaz, Ismael Perez, Avery Cohen, Cecilia Yun, Beatriz Sturn, Fabiana Szauer + Audrey Sy
DESIGN TEAM
Amira Dossani, Hyouji Joo + Linda Montejo-Bartolon
EDITORIAL TEAM
Julia Benkendorf, Sarah Campbell, Augustus Glick, Lexi Goldstein, Isa Grau, Claudia Johnson, Stephania Kontopanos, Mackenzie Kirkwood, Anjola Olawoye, Aanika Sawhney, Ana Patricio, Cassiane Da Silva Saraiva, Catherine Tang, Karina Rosas, Lucy Wolter, Lucy Yao, Minnie Jin Sophia Memon + Viviana Seibold
PHOTOGRAPHY TEAM
Clara Wrolstad, Cyrilla Cao, Jemma Wygodny, Olivia Brown, Sarah Villamil, Sarah Yoo + Savannah Spring
SOCIAL TEAM
Greta Glanz, Kira Hughes, Mike Stanley, Sarai Quintanar, Sophie Lunda, Selina Zhu, Vani Bansal, Audrey Sy, Milan Hawk, Candance Lam + Ava Wineman
STYLING TEAM
Nicole Gunawan, Isabella Hernandez, Brett Rogers, Diya Mantena, Jacqueline Le + Matthew Smith
thoughts
FROM THE EDITORS
As we began brainstorming this issue’s theme, we could not get over how crazy the world seemed. At the time, we were coming off the tail end of the Summer Olympics, awaiting a highstakes presidential election and dealing with all of the daily anxieties that come with being a college student. On top of that, choosing a magazine theme that will be predictive of the world in five months is almost an impossible task. The world moves so fast, especially as young people — the future seems daunting.
We challenged our creatives and writers to articulate the complexities of their feelings in our Emotion Issue. Our creative team interpreted emotion broadly, playing with models’ physicality, photoshoot locations and styling. The four photoshoots beautifully embody pure joy, seduction, sadness, and many other complex emotions. Our writers turned to the power of fashion. One story examines the pieces of clothing that mean the most to Northwestern students. Another story looks at past fashion shows that moved audiences and impacted culture. We consider fashion subcultures and the importance of self-expression and try to keep up with ever-changing trends.
The value of clothing is undeniable, both material and emotional. In times of chaos and uncertainty, it is essential to turn to beauty. Whether in the arts, literature, and, importantly, the clothes we wear daily, a reminder of beauty can be light in the darkness. We hope STITCH’s Emotion Issue allows you to reflect on how you have been and the future that has yet to arrive.
– Austin & Anna
THE GREAT ESCAPE
How we use fashion to make sense of unimaginable times
By Julia Benkendorf
Designed by Rachel Smith
For the past year, my go-to pair of shoes has been a pair of beat-down black cowboy boots I found for half-price at a thrift store in 2023. It doesn’t matter if I am wearing a short neon slip dress, comically oversized jeans, or Adidas track shorts; the boots are probably there. While my mom thinks my outfits are chaotic or confusing, they make perfect sense to me. I feel like my recent style reflects a modern trend, where fashion has become increasingly identity-based, self-referential and layered. Recent trends embody a “the ones who get it, get it” mentality. The reason for this burst of identity-driven style is inextricably linked with the social and political uncertainty of our time –specifically for Generation Z.
Gen Z is no stranger to the unthinkable. Born between 1997 and 2012, members of this generation grew up during some of the most culture-shifting events like 9/11, the Great Recession and the COVID-19 pandemic. Gen Z also inherits the burdens and ramifications of the uncertain climate crisis that feels increasingly urgent.
It seems difficult to separate our daily lives from the politics shaping them, but that is no surprise. Fashion is inherently historical and political, in that it has always served as a means of expressing a certain aspect of our identity. When the sheer amount of discourse and analysis on fashion trends feels exhaustive with social media, how can we parse through all the changes in fashion and see them as symptomatic of larger cultural moments?
One notable example of when fashion and culture responded to current events is the Great Depression when the extravagance of the 1920s came to a screeching economic halt. Many turned to frugality in their fashion choices, even fashioning potato sacks into garments for the sake of saving money. Some Americans turned to movie theaters to escape the anxiety of daily life and subsequently began to emulate the style of their favorite stars. The color
black, previously considered taboo and associated with mourning, became mainstream as viewers saw black pieces styled on screen.
The 2008 recession saw a similar embrace of minimalist silhouettes and understated designs, a stark contrast to the McBling and Y2K aesthetics that defined the early 2000s. Brands began to prioritize wearability and functionality.
Bedazzled Juicy Couture tracksuits and gaudy jewelry transitioned out of the zeitgeist. Department store buyers relied on traditional and dependable lines when stocking inventory, and luxury brands like Louis Vuitton adopted more subtle design choises over its usual logo-heavy monogram. The recession changed attitudes about fashion. Opulence and bling became taboo for the average consumer, and simplicity and modesty were repopularized.
In the years after the recession, internet spaces like Tumblr helped popularize aesthetics like twee and indie sleaze, born from interpretations of emotional sentiments at the time. Most recently, the 2020 pandemic opened new floodgates for experimentation and variance in personal style. The pandemic was different than other economic downturns since it changed the entire structure of daily life as we knew it. In the early days of lockdown, everyone was confined to their bedrooms for the foreseeable future so fashion took a backseat.
The pandemic can largely be credited with the cementation of social media and online spaces as a primary space for both fashion inspiration and outward expression. With traditional lines of group affiliation blurred, many members of Gen Z utilized the period of limbo to experiment with their style and subsequent identities. TikTok microtrends, from neon and animal print to “Euphoria”-inspired makeup, alongside the rise of fast-fashion brands like Shein reflected a yearning for expression via the adoption of trends we saw on screen, as online identities and aesthetic groups became merged with everyday styles.
Photo Courtesy of Yves
Coupled, and sometimes intermixed, with this change in stylistic extraversion were pastoral and soft influences, such as puff sleeves, floral prints and flowy skirts. These nostalgic influences reflect a yearning for an idealized and utopic time, unrestricted by the constraints of modernity and marked by a return to simplicity. The popularity of cottagecore and fairycore, facilitated heavily by social media, reflected style as an escapist tool.
“When the future collapses, people suddenly look for comfort and certainty – and the past is always that,” Hamline University anthropology professor David Davies told Artful Living Magazine.
However, the largely digital-native environment of these aesthetics reflects one of the trademarks of Gen Z fashion since the pandemic: dissonance and juxtaposition. Nothing is clear cut since we embrace multiple identities simultaneously. Escapism is made nearly impossible due to technology’s all-encompassing grasp on our lives, thus the origins of many modern fashion subcultures are often sporadic, nuanced and undefinable.
The future seems nearly as uncertain as ever, with generational fears like environmental ruin, ongoing political conflict and financial insecurity in the unstable job market running rampant. I don’t know what the future holds for both myself and the world around me, and as a soon-tobe college graduate, I often feel overwhelmed by what lies ahead. Despite this, as part of Gen Z, I use fashion as a tool for both personal expression and a tool for social and political change. Fashion provides an avenue to reflect and make sense of the world around me. While my style might not always fit into a concrete aesthetic or subcategory, it is one thing that I have complete control over. Regardless of what happens in our lifetime, at least we'll always have fashion as an outlet to not only express our complex generational emotions but also to inspire social progress.
In the wake of the pandemic, Gen Z’s fashion largely shares many of the same elements of multiplicity and adaptability that were born during the quarantine. Yet since 2020, the social and political implications of the fashion industry’s reliance on overconsumption and mass production have become increasingly relevant to consumers. The shift to prioritize sustainability has turned many Gen Z shoppers into thrifters since shopping secondhand is more ecoresponsible and expressive of unique and one-of-a-kind influences.
Gen Z is also more likely to view their style as an expression of their politics and social beliefs. Coinciding with the ongoing war in Gaza, many people incorporate Palestinian keffiyehs into their daily wardrobes as a symbol of their solidarity with Palestine. While everyday fashion has adopted significant references to vintage and minimalist aesthetics, the notion of fearlessness and stylistic individuality separates much of Gen Z from previous generations.
Kate Moss and Pete Doherty in June 2005, an iconic indie sleaze look
Bella Hadid, a model with Palestinian roots. Pictured 2024 and 2021 respectively.
H E A R
closet OUR ON SLEEVES
Students share the most emotional items in their
By Stephania Kontopanos
Designed by Linda Montejo-Bartolon
Throughout every important moment in our lives, the clothing and accessories we wear are able to carry long-lasting memories and feelings. Whether these pieces are gifted, bought, borrowed or exchanged, what we wear holds meaning.
School of Communications sophomore Ellie Caro’s has a sweatshirt that says, “Bartlet for America.” The line is from “The West Wing,” a political drama series on HBO. It represents the fictional political campaign of Jed Barltet, a Democrat in the show. Caro says the sweatshirt has given her hope even during Trump’s next presidency.
“Recently, it's been a comfort and something I can look to in these harrowing politicaltimes,” Caro said.
This positive energy comes in part from the writing of the show.
“Aaron Sorkin is just an absolute visionary, genius writer. I love
every single character,” she said. “It makes me feel passionate; it invigorates me.”
Outside of the political climate, the piece of merchandise has allowed her to connect more deeply with both the show and other viewers. “When people are like, ‘I love your shirt,’ I’m like, ‘I like you.’” Caro said. “I used to call it my cool kid detector. I still do.”
Medill sophomore Grace Jordan-Weinstein has a navy blue cardigan that was her mother’s.
“She was an au pair one of her summers in college,” Jordan-Weinsteins said. “The mother of the children she babysat for said that the cardigan will never last. I still wear that cardigan. It’s really well made.”
Despite ideas of the opposite, Jordan-Weinstein can still wear the item almost 40 years later. She hopes that one day, she can pass
STit on to someone else.
“It was handed off to me,” she says. “Now I feel it's sort of mine. I might give it to another loved one. Maybe a future child or something that's way ahead.”
For Weinberg freshman Malcolm Nyondo, items can also have value because of the person who gave it to them. In his case, it’s a pendant from a high school friend that he wanted to be more than a friend.
“I had a crush on her,” Nyondo says. “I was like, ‘I'm not about to try anything romantic.’ I wanted to get to know her.”
Nyondo gave her a birthday gift after his crush developed. It wasn’t until the end of their time together before leaving for college that she gave him the necklace.
“The morning I was supposed to leave, she came and dropped off a shirt, a letter, dessert and this pendant,” he said. “At first, I didn't think I'd like it, but I actually really like it. I wear it a lot.”
The emotion behind Nyondo’s pendant comes from the friendship he had with her, and the decisions he made to prioritize it.
“It reminds me of being mature enough to put my feelings aside and actually think about the best way to have something sustainable.”
For Weinberg freshman Andrew Onema, a bracelet carries a similar feeling. However, his was given to him during his senior year of high school by his best friend, Keyanna, someone he considers a sister.
“I really don’t know what I would’ve done without her,” Onema said. “She helped me open up, and she opened up to me.”
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He received the bracelet from her during a school trip to Washington, D.C. She had bought two and gave him one on the bus. The gift was for no special occasion, symbolizing the dynamic of their friendship.
“This is random because we are random sometimes,” he said.
Communications freshman Jacky Maya also has a bracelet that reminds her of loved ones. Maya’s reminds her of her friend group from back home.
“One of them I’ve known since elementary school, the other one since middle school and another one since high school,” Maya said. “They have seen me change a lot.”
Maya’s friend group decided to get matching bracelets before moving out for college.
The matching bracelets all say “forever friends” on them, a phrase the friend group found tacky but endearing.
“It was the cheapest thing that looked nice. We all got different stones,” Maya said.
Clothing and accessories will always be more than the pieces of fabric or chains they are made of. They are vessels for memories, connections and stories about our lives. Even items as small as a bracelet or as simple as a piece of merch can evoke emotion and serve as powerful reminders of meaningful moments.
Playground
Creative Director: Elias Xiwei Fan // Styling Director: Grace Jordan-Weinstein // Photography Director: Keya Soni Chaudhuri // Head Stylist: Nicole Gunawan // Styling Assistants: Diya Mantena, Matthew Smith, Jacqueline Le // Photographer: Clara Wrolstad // Photography Assistants: Cyrilla Cao, Savannah Spring, Jemma Wygodny, Sarah Villamil // Makeup Artist: Brett Rogers // Models: Willa O’Donnell, Luluya Tekle, Michelle Nartey
Playground
In this faraway dream, we laugh, play and sprint to the nostalgia of a childhood that will never come back.
A Color for Every Emotion
Taking fashion inspiration from “Inside Out 2”
Written by: Gus Glick / Design by: Hyouji Joo
I spent my summer people-watching and contemplating “Inside Out 2,” like every other wired headphone-wearing, "Brat"-listening, pretending-I-live-in-New-York young adult of Generation Z. In between recognizing the impressively plausible theories of “sar-chasms” and “brain-storms,” I could not help but notice how quickly I started to read city strangers as emotional characters. But it wasn’t their faces I was looking at; it was their clothes. I saw people in shinlength jean shorts with a sunny Brazil jersey, weathered cowboy boots and elaborate crop tops, and finance office attire with faded Yankees hats. I realized I saw characters like Joy, Anxiety and Anger from Inside Out on my morning F-train.
I jumped back into Inside Out and watched from the perspective of a fashion-curious people watcher in New York. I saw all my subway friends, and I recognized them by their color. I nodded at my purple “don’t talk to me” stoics. I snuck glances at my green “I know you’re looking at me, but I’ll pretend you’re not” readers. And I smiled at my blue “just two more hours” Metropolitan Transportation Authority employees. Through some reading, a lot of Googling and a healthy amount of chatting, I have collected an Inside Out-inspired report on the emotional semiotics of color and clothing.
Black
01
Black is most commonly associated with qualities of sophistication, power and elegance. It is significantly more intimidating and demands to be taken seriously, though black is also often associated with serious topics like mourning and loss. Think about characters like Maleficent or Wednesday Addams, who exude confidence from their self-proclaimed authority. Black is often associated with negative emotionality, but as a choice, it can also represent introspection, mystery and a relishing of the unknown.
White is the color of purity and innocence. Several non-Western cultures utilize white as their color for mourning. Wearing white often gives the impression that one is organized, efficient and detail-oriented, which I hypothesize is because of the care it takes not to stain it in the throes of life. Wearing white shows a willingness to let go of the past and move forward with a clear mind, so it is very approachable. Think of Olaf, Snoopy or any of those elegant princess ballgowns. One and the same.
Grey
03
Grey is practical and seemingly unemotional, though this color also represents someone who is extremely flexible and easy-going. In the same light as Dumbo or Gru, these people are often tough when in leadership positions but become soft and caring with loved ones.
People wearing grey clothing are considered cautious, pragmatic, reserved, practical and level-headed. They prefer tradition and order, though I’ve found that wearing a gray outfit, coined the groutfit, does not radiate leadership. Do with that as you will, but long live the groutfit.
Red
04
Red is anger, as Inside Out shows us bluntly. This intense color is not always associated with negativity, as it also represents enticing, powerful love. The best general association with red is a sense of passion, often accompanied by confidence, energy and seduction. This is evident in the “red dress effect,” which is that a red dress increases one’s physical attraction, desire and romantic sentiments. Red can manifest itself as Anger, Deadpool or Lightning McQueen, but also Ariel, Betty Boop and Jessica Rabbit. In other words, this is the color to wear on a first date.
White
02
05
Orange plays to two very different sides of the spectrum. In one sense, orange emits a sense of coziness, pleasure and warmth while also feeling loud, attention-seeking and overly extroverted. This is why clothing generally tends to avoid oranges since it runs the risk of being too polarizing. Hence, the character Anxiety. That said, a person wearing orange exhibits a sense of adventure, energy and creativity. Picture characters like Phineas, Goofy and Velma.
Orange Yellow Green
Yellow is Joy!
06
Unfortunately, yellow is rare to find in the world. But when you see it, you can feel its radiance. Yellow is often associated with childhood and a willingness to take risks and try new things. People perceive yellow as curious, positive and happy. Someone who wears yellow may embody intellect, mental clarity, mind stimulation or even concentration. There are characters like Spongebob, Charlie Brown and Cher in the opening scene of “Clueless.”
07
Green is the color of nature, plants and growth. When one wears green, people often consider them as calm, fresh, balanced and open to mental and physical development. Think Elphaba or Mike Wazowski. Green can also symbolize stability, security and financial prosperity or an aspiration for it. Maybe I should wear more green. But, as we see in Inside Out, green can be disgust, envy or jealousy. Studies have shown that this is most evident when the green is of a brighter shade. But now, it seems, green is “BRAT.”
Blue
08
Blue is sadness. It reminds us of water and the ocean, making us feel a slower tempo and calm. Blue also holds great responsibility, seriousness, trust and intelligence. This is why companies often have blue logos and employees wear navy business casual. Some film characters that embody this are Elsa, Fix-It Felix and the Genie. They hold great power and the opportunity to save their target from wrong. Blue is classic and secure, which is why it is such a closet staple.
Purple + Indigo
09
Purple and Indigo most often represent a type of wisdom. Whether that’s realistic or spiritual, purple has been associated with high status and exclusivity since the Romans. The perception of purple is someone deep, mystical and attuned to an inner world beyond our own. In “Inside Out 2,” this is represented in Fear’s worry for the future and Ennui’s lack of care for the present. This is also displayed in a character like Thanos’ ultimate desire for control. Purple carries with it a rich power, insight and emotional maturity.
Let these descriptions inspire you to use color as a tool for expression. I recommend you rewatch the Inside Out movies again since they are suprisingly intellectual and tear-jerking. Take an extra second to appreciate your emotionality in the mirror before you head out for the day. And try some things out! Let your feelings dictate your outfit, and empower your style with a psychological intention.
The Seven
In the depths of purgatory, under the church organ and hidden
Seven Sins
hidden in the indefinite shadows, we find a divine revelation.
Creative Director: Elias Xiwei Fan // Styling Director: Grace Jordan-Weinstein // Photography Director: Keya Soni Chaudhuri // Head Stylists: Elias Xiwei Fan, Nicole Gunawan // Styling Assistant: Jacqueline Le // Photographers: Joss Broward, Savannah Spring // Photography Assistants: Jemma Wygodny, Clara Wrolstad // Makeup Artists: Victoria Ramos, Shepherd Lee Williams, Brett Rogers // Models: Beatriz Sturn, Ilia Iliev, Kyle Vetter, Mahmoud ElEshmawi, Gus Moore-Manakas, Kyna Owusu, Amy Argueta
PuNk And PoliTICS: The evolution
of battle jackets
Imagescourtesy o fPinterest, Etsy
We have seen battle jackets even if we never learned those words. Covered in patches, pins, studs and paint, these jackets and vests are one of those endlessly cool and deeply personal types of clothing. Whether themed around a band, a genre or your own beliefs, battle jackets are the purest form of wearing your heart on your sleeve.
They first emerged during World War II when airmen added patches and paintings to their flight jackets to carry a piece of home with them. When those same pilots returned from war, they still sought the thrill of flight. So, many formed and joined motorcycle clubs, bringing the tradition of customizing a jacket with them. A clear subculture and community soon developed around these personally decorated pieces.
The do-it-yourself jacket or vest style was adopted in the 1970s by the punk music scene as a way to broadcast their anti-establishment sensibilities and political rebellion. Punks covered leather jackets in studs, safety pins, rivets and chains. The look was solidified as rebellious, expressive and cool.
In the 80s, the heavy metal scene made these battle jackets music-focused. With that shift a myriad of rules developed for how to rock the look: only bands you’ve seen live get a patch, only one genre per jacket, only one patch per band and so on. These only strengthened the battle jackets’ ties to their specific music subcultures and communities they represented.
Rules or not, battle jackets are a labor of love. You have to apply
"Battle jackets give us all a way to create our own armor for our personal battles."
each stud by hand, hunt down or create your own patches just to hand sew them on, perhaps with dental floss if you don’t have thread. You have to find the perfect jacket, vest, or even a hoodie or pair of pants. We have embraced the pieces that are forever works in progress, with continuously added and replaced patches. Battle jackets have always been a way to express yourself and show your loyalty to a community.
see more patches against fascism or showcasing all forms of pride. Punk and its fashion have always been inherently political.
We can even see this struggle on two battle jacket dedicated Reddit communities. The page “r/BattleJacket” prominently proclaims that they are “about music, not ideology” while and “r/JacketsforBattle” celebrates kawaii, occult and movie-themed jackets. In the traditionalist mind, anything other than a completely or nearly completely band-themed jacket is still just for posers.
Once punk and alternative fashion entered the mainstream, it became possible to buy your own premade battle jacket. The subculture and community of punk and metal music became commodified and commercialized. People can buy a denim jacket with patches right off a rack. Yet, buying a fully-designed jacket leaves out the crucial process of pouring your heart and soul into the jacket by picking every embellishment yourself.
The commodification of the battle jacket spawned a protective attitude among punks and metalheads, with many looking down on new takes and those not doing it “right.” People now make jackets themed around anything they love, like books and
While battle jackets are rooted in music and live shows, fashion always evolves. Preferring the look of a cohesive music-centered jacket doesn’t make any other themed jacket worse or fake. It is the selfexpression and DIY element that make each piece cool and personal. Battle jackets give us all a way to create our own armor for our personal battles. These battles don’t have to just be a mosh pit
Fashion Is
e·mo·tion·al:
Runaway shows that will get you in your feels
By Alexander Hernandez Gonzalez
Designed by Wendy Zhu
Fun clothing, iconic catwalks and drama are usually common experiences to behold at a fashion show, regardless of the location or designer. Unfortunately, the true message of most collections is often overlooked since our emotions can get the best of us. Whether it be Naomi Campbell holding a gun walking down the Versace S/S 1998 runway or when Gigi Hadid escorted Marie S’Infitre off the runway during the Chanel Spring 2020 collection, shock, confusion
and sadness are the most common feelings that correlate to the fashion world, especially when the unexpected can occur. Yet, emotions are not just limited to negative ones. Positive feelings prevail, too, especially when you see a collection that holds a special place in your heart. As a fashion-fanatic who has reviewed a plethora of collections, I know that fashion is another avenue in which people can express themselves without having to say a singular word.
HERE ARE MY TOP FIVE COLLECTIONS THAT MAKE MY EMOTIONS FEEL LIKE THEY ARE RIDING A ROLLER COASTER:
CHRISTIAN DIOR SPRING 2002
John Galliano, creative director of Dior (1997-2011), took the French luxury fashion house through one of the most dramatic yet theatrical transformations the fashion industry has ever seen. For this show, Galliano created a collection that took the audience on a world tour by showcasing grungy sheer dresses, hip-hop-style ensembles and Mexican-sarape prints. The use of canvas-straps, clashing prints and the iconic Dior Trotter monogram throughout this 57-look collection makes me wish I was sitting front-row in the early 2000s. The way the models strutted down the runway to songs such as "Bootylicious" by Destiny’s Child and "Dooms Night" by Azzido Da Bass while selling the clothes by playing a grungy character made me feel excited about how you can become anyone you want with clothing. Now, the only thing I can do is scour Chicago consignment shops to see if I can get a piece of this delicious Dior collection.
READY-TO-WEAR COLLECTION
Images courtesy of Vogue
LOUIS VUITTON SPRING 2003
Kawaii; that’s the only word that perfectly describes former creative director Marc Jacobs’ iconic 2003 collection for Louis Vuitton. Thanks to Jacobs, the French luxury house started to produce ready-towear collections in the fall of 1998. The collections got grander by the season, and this show is no exception. The 62 looks that went down the runway displayed clothes with polka dots and monochromatic ensembles accompanied by the most fun pop of colors through the brand’s hottest commodity: handbags. I, along with countless others, immediately became mesmerized, obsessed and quite frankly desperate to have one of these fun and fresh bags in our closets. What we now know as the rainbow monogram (in black and white) and the cherry blossom monogram (in pink and classic LV brown) were created for this collection by Japanese artist Takashi Murakami in collaboration with Jacobs. We all say in grateful unison: thank you Marc Jacobs for creating countless iconic 2000’s fashion moments, because that’s all we can really do as this collection did not only excite generations of fashion lovers, but now they are a reminder of the simpler and happier times.
READY-TO-WEAR COLLECTION
ROBERT WUN SPRING 2024
Hong-Kong-born and London-based fashion designer Robert Wun celebrated the 10-year anniversary of his eponymous fashion label during the Paris haute couture calendar. This small yet mighty 25-look collection stuns and glims effortlessly with crystals that look like raindrops on dresses, trench coats and hats. Splatters of blue, red and black, fine tailoring and exquisite draping of fabric are mesmerizing to say the least. The jaw-dropping finale look featured a model in a red gown walking down the runway as a person rising from the back of the gown reached over the model's shoulder and adjusted the gown, pulling a piece of thread from the dress’ bust. The look is eerily chic and mysterious, things Wun has become a master at. The way he gives clothing an elevated detail/ feature is groundbreaking and always leaves me speechless. The jaw-dropping finale look featured a model in a red gown walking down the runway as a person rising from the back of the gown reached over the model's shoulder and adjusted the gown, pulling a piece of thread from the dress’ bust. The look is eerily chic and mysterious, things Wun has become a master at.
COUTURE COLLECTION
GUCCI FALL/WINTER 2021
Speaking of iconic moments, do you remember when Gucci had their F/W 2021 collection “hacked” by none other than Balenciaga during the pandemic? Yeah, the pandemic was a rough time, but dream-duo Alessandro Michele, former creative director of Gucci, and Demna, creative director of Balenciaga and Vetements, knew how to keep the fashion community well fed through clothing. Models, dressed in recreations of iconic Gucci looks, walked down a runway full of flashing lights to Lil Pump’s “Gucci Gang” and Bhad Bhabie’s “Gucci Flip Flops.” The designers created one of the craziest experiences I’ve ever witnessed live while at the ease of my couch. For celebrating the Italian fashion house’s 100th anniversary, Michele sure knows how to put on a show that will leave you feeling left out if you didn’t get your hands on a piece of fashion history.
ARIA COLLECTION
WILLY CHAVARRIA SPRING/SUMMER 2025
Mexican-American designer Willy Chavarria has broken multiple barriers across the fashion industry. From having celebrities such as Kendrick Lamar and Billie Eilish wear his clothing to partnering with Don Julio and uplifting the Latino community by bringing them into these predominantly white spaces, Chavarria is willing to do anything to showcase that underrepresented communities truly have a lot to bring to the table. The 69look Chicano-inspired collection references clothing that define the United States: well-structured suits, blue-collar job outfits and relaxed shirts and pants. The ultimate surprise came in the middle of the collection, where the designer unveiled his Adidas collaboration that combined Chavarria’s house staples and the athletic brand’s recognizable three stripes. Seeing a figure in this industry who I can relate to not only makes me proud of where I come from but also proves what I can bring to the fashion industry.
READY-TO-WEAR COLLECTION
Regardless of your style preferences, we can all agree that fashion is a creative outlet through which you can express your thoughts, ideas and individuality without being fearful of critique. Yes, people will have their opinions about everything, but that shouldn’t deter how you interpret yourself through fashion. These collections, amongst others, take you to a fantasy land to escape from reality while also providing you with a lesson to take back to daily life, and that’s the beauty of fashion.
Red Feast
Lips. Wine. Flowers. Veins. Red mercury runs underneath the skin. Smoke. Pain. Eternal ecstasy. She has invited you to the feast.
Creative Director: Elias Xiwei Fan // Styling Director: Grace JordanWeinstein // Photography Director: Keya Soni Chaudhuri // Head Stylist: Elias Xiwei Fan // Styling Assistants: Jacqueline Le, Bella Hernandez // Photographer: Devon Carlson // Makeup Artist: Tiger Lee // Hair Artists: Chibuzo Zelenskyy Amobi, Sofia Sciacca, Anna Patel // Model: Maggie Johnson
THE FASHION VERDICT
Courtroom Attire Shapes Perception and Emotion
By Mackenzie Kirkwood Designed by Amira Dossani
When Aaron Korsh’s “Suits” premiered, it was not the one-of-a-kind, quick banter between Harvey Specter and Mike Ross that grabbed my attention. I was drawn to the unbeatable and immaculate style of Jessica Pearson, the managing partner of the fictional law firm. Pearson flexed Oscar de La Renta and Prada and strutted into the courtroom like no other. Her clothes exuded confidence and expertise, compelling people to take her seriously before she even opened her mouth. In the tense atmosphere of a courtroom, where every detail can sway opinions, the attire of defendants has emerged as a silent yet powerful communicator. Throughout pop culture, courtroom fashion has reflected societal norms and personal statements, revealing how clothing can influence emotions and public perception.
Courtroom attire has transformed over the years from formal and austere to a more nuanced representation of personal style. In the early 20th century, defendants typically wore suits or dresses that conveyed respect for the judicial process. Over time, however, this evolved into a strategic public relations tool, as individuals recognized the potential of clothing to affect public opinion and more importantly, a more favorable jury decision.
Martha Stewart
Martha Stewart faced legal battles in 2004 for insider trading, security frauds and obstruction of justice. Stewart was sure to do everything she could before donning the orange jumpsuits. As any of us would do when accused of fraud, she whipped out her 35-centimeter Hermès Birkin in chestnut brown fjord leather with gold hardware. The media frenzy surrounding her case magnified every aspect of her life, including her wardrobe. In court, Stewart opted for classic, tailored outfits like chic blouses paired with well-fitted blazers and stylish skirts. Her choice of sophisticated, muted tones projected an image of composure and professionalism, signaling that she was a serious figure deserving of respect despite the charges against her. This carefully curated style helped humanize her in the eyes of the public, evoking empathy rather than scorn.
Gwyneth Paltrow
During Gwyneth Paltrow’s recent ski accident lawsuit, her fashion choices further illustrate the power of courtroom attire. Paltrow appeared in sleek, minimalist outfits that included tailored blazers and understated blouses. Her neutral palette and polished looks conveyed confidence and control, signaling that she was not just a celebrity on trial but a serious participant in the legal process. By choosing elegant yet simple clothing, Paltrow sought to divert attention from her celebrity status, allowing the facts of her case to take center stage. Her style fostered an emotional connection with the jury, potentially softening perceptions and highlighting her integrity.
"Her clothes exuded confidence and expertise, compelling people to take her seriously before she even opened her mouth."
The Menendez Brothers
The trial of the Menendez brothers in the 1990s serves as a stark example of how courtroom attire can influence public sentiment. The brothers often wore dark, somber suits during their trial, interpreted as a sign of remorse and seriousness. In contrast, they also opted for pastel sweaters, invoking a youthful Sunday’s best. It was imperative to stray away from the image of pretentious rich country club boys while satisfying America’s love of the classic boy next door. However, as their trial progressed, their polished appearance drew criticism from the media, leading some to perceive them as unrepentant. This discord between their presentation and the weight of their case contributed to a polarized public opinion. The emotional response to their outfits – ranging from sympathy to disdain –demonstrates how style can affect the jury’s perception of character and credibility.
"The emotional response to their outfits — ranging from sympathy to disdain — demonstrates how style can affect the jury’s perception of character and credibility."
Anna Delvy
Anna Delvy, the infamous con artist, took courtroom fashion to an entirely different level. Known for her highend designer outfits, Delvy’s style was both captivating and controversial. Her wardrobe choices, often consisting of luxury labels and bold accessories, reinforced her fabricated identity as a wealthy socialite. The media’s fascination with her fashion allowed her to shift the narrative from that of a criminal defendant to a figure of intrigue. This strategic use of clothing influenced public opinion and shaped the emotions surrounding her trial, evoking envy and disdain from onlookers.
Courtroom attire is not merely about clothing; it reflects strategy, emotion and the desire for connection. Whether it is Martha Stewart’s polished professionalism,
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Creative Director: Elias Xiwei Fan // Styling Director: Grace JordanWeinstein // Photography Director: Keya Soni Chaudhuri // Head Stylist: Grace Jordan-Weinstein // Styling Assistants: Diya Mantena, Matthew Smith, Jacqueline Le // Photographer: Keya Soni Chaudhuri // Photography Assistants: Olivia Brown, Jemma Wygodny // Makeup Artist: Brett Rogers // Models: Katherine Tuohy, Max Fulcher
