The Mosaic Issue

the mosiac issue

issue no. 57

06 Fashion Factories

Discover exactly how your clothing is produced and exported to you, then decide if you think it's ethical.

10 Heritage and Nationality

To hail from a country is a beautiful thing. To carry a sense of belonging is intangible, yet the most prized possession one can hold.

12 The Eye Has to Travel

Seated at the table, paths cross, hands touch, and stories are told.

42 Ballet Folklórico

Grounded in rhythm and heritage, these dancers are rooted.

38 Cartagena: Weaving Tradition and Innovation

Learn how Cartagena is quietly rewriting the world’s traditional fashion capitals—Paris, Milan, New York.

24 Fashion Diplomacy: Clothing as Cultural Bridge

Understand how diplomacy acts as a tapestry that weaves together culture, politics, and tradition in a way that encourages respectful, global collaboration.

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EDITORS-IN-CHIEF Austin Kim + Anna Souter CREATIVE DIRECTOR Elias Xiwei Fan

PRINT MANAGING EDITOR Abigail Abdi

PRINT MANAGING EDITOR Lauren Cohn

DIGITAL MANAGING EDITOR Alexander Hernandez Gonzalez

DIGITAL MANAGING EDITOR Justine Fisher

SOCIAL MEDIA + MULTIMEDIA EDITOR Alexander Hernandez Gonzalez STYLING DIRECTOR Grace Jordan-Weinstein BUSINESS DIRECTOR Annika Srivastava DESIGN EDITOR Rachel Smith

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

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PHOTO GOES HERE

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thoughts F R O M

T H E

E D I TO R S

For our spring issue of STITCH, we worked in collaboration with The International Studies Society to create a magazine that reflects fashion on campus and around the world. We decided to title the magazine The Mosaic Issue to capture the woven multicultural perspectives and international stories included in this issue.

Our editorial team explored the global power of fashion and how it is utilized across cultures.

One story explores the journey of embracing personal heritage during a term of study abroad.

Another highlights the mainstream impact of the craft tradition in Cartagena, Colombia. Writers acknowledge the cost of a globalized fashion industry that utilizes cheap labor and abusive workplaces to lower consumer prices.

In our photoshoots, our creative team explored depictions of culture and identity through items, clothing and locations. In one shoot, we focused on still life, filling images with an abundance of accessories and meaningful objects. Another shoot utilized architecture and sites at Northwestern and Downtown Evanston. The final shoot captures the beautiful styling of traditional Mexican dresses worn for ballet folklórico.

As our last issue as editors-in-chief, we are incredibly proud of the Mosaic Issue and the work of the STITCH staff throughout the academic year. We are excited to watch STITCH continue to grow and transform into the future.

– Austin & Anna

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Fashion Factories

By Lucy Wolter

Designed By Rachel Smith

Four years ago I dropped $500 at Shein. It is safe to say none of that clothing has lasted. About a year after that, I realized that the unethical foundation of Shein was not worth the concerningly low prices. I switched over to more expensive brands: Aritzia, Urban Outfitters, Lululemon, Anthropologie. Little did I know that those companies—and really all the companies I shopped at—were not as ethical as I thought. For years, I had no idea that I had been contributing to labor injustices, pollution and overconsumption. Look at your closet: maybe you see a Zara going out top, Urban Outfitters jeans and Lululemon leggings. Have you ever thought about where those garments might come from and who is making them?

Approximately 80 to 150 billion articles of clothing are produced each year. The International Labour Organization reported that 55% of garments are produced in Asia, 31% of which are manufactured in China alone. The European Union takes up another 27.4% of clothing production. The share of imported clothing looks much different – with the majority of clothing consumed in the United States and the EU. Despite being the largest clothing manufacturer in the world, China only makes up 1.8% of clothing consumption.

China produces almost a third of all garments globally, meaning it churns out approximately 26 to 50 billion articles of clothing each year. The country employs around 20 million textile workers; however, through every stage of creation – from the cotton fields to sewing on the final buttons – labor injustices occur, according to the International Labour Organization.

Workers are forced to work excessive hours in unsafe conditions for below minimum wage. They are not allowed to unionize and rarely receive social security benefits. Factories often hire workers on short-term contracts as they do not know the quantity of clothing they will have to produce from month to month. Such 606

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contracts allow the factories to easily fire excess workers at any point, creating extreme instability for the workers at all times. Many companies hide these injustices by highlighting their later-stage factories responsible for assembly while dismissing the earlier stages of production, where the majority of labor abuse occurs.

For example, Lululemon does trace part of its supply chain and provides some information on the factories involved in the final stage of production. This makes the company appear to be vigilant of its supply chain, when in reality they only give the appearance of transparency. Though Lululemon gives some details on its Tier 1 factories responsible for assembly, they do not disclose much information on the supply chain or labor policies beyond that. They do not disclose the percentage of workers that receive a living wage or the average wage paid to their garment workers.

Additionally, the company has ties to the manufacturing industry in Xinjiang China, known for forced labor, and the company has not taken sufficient steps to ensure forced labor does not occur in their factories. Despite the initial appearance of ethical manufacturing due to their partial transparency on the final factories, when digging deeper, it is clear that the company is being neither transparent about its supply chain nor vigilant in ensuring fair labor practices.

The next highest exporter of garments is the European Union with approximately 1.3 million garment and textile workers, according to the European Apparel and Textile Confederation. Despite having a better reputation in garment manufacturing, their production process also lends itself to the abuse of workers. In Europe, companies hire first-tier factories that then subcontract to lower-level factories which operate somewhat under the radar. In these factories, there

is little regulation and, therefore, many labor abuses including unsafe working conditions and wage theft.

These injustices mainly occur due to the pressure clothing companies put on manufacturers. The fashion industry’s path in the past decades can be described as “a race to the bottom.” Companies constantly switch factories and manufacturers, chasing after the lowest possible costs. They have no obligation to the factories to continue sourcing from them; therefore, factories are constantly at risk of losing their business. According to the International Labor Organization, 75% of manufacturers rely on a single company for more than ⅓ of their sales, which puts pressure on the factories. They know the companies are looking for the lowest prices, so they do whatever is necessary to provide them. This results in underpaying and overworking their garment workers to get as many garments made as cheaply and quickly as possible.

So where does the industry go from

here? It appears that trying to shift production away from these regions and towards regions with more ethical manufacturing is unrealistic. The Collective Fashion Justice reports that only 2% of garment workers are paid a living wage globally. This means there is no real example of an ethical manufacturing country or region, aside from a few ethical companies that trace every step of their supply chain to ensure there are no labor abuses. One example of an ethical company is Arknit Studios, located in Italy. This is a knitwear company that provides ample information regarding who exactly makes their clothes, where they are made, what protections the workers have, and how the pieces are made ethically. They share the locations of all their factories including information about the rules at the factories and what pieces each factory specializes in. This type of transparency should be the standard for every clothing company, and yet this

type of deep dive into the labor policies is quite rare in the fashion industry. Some other companies that are similarly transparent are Kotn, Ética Denim, LA Relaxed, and Christy Dawn. Aside from a few companies such as these, the fashion industry as a whole is lacking this level of transparency as well as concern for the wellbeing of laborers. Therefore, instead of looking elsewhere, the industry must begin by reforming the existing manufacturing structures. It cannot be up to the manufacturers to reform themselves; this initiative must start with the clothing companies at the top. The key to this is transparency. Companies must be able to trace their entire supply chain - from fibers to finished garments. Companies must make this information available to the public, including customers, to ensure accountability. Pressure must be relieved from the manufacturers, and factories must be regulated, especially cracking down on subcontracting where most labor injustices take place.

The fashion industry can be reformed on a global scale to ensure safe working conditions and quality production worldwide. However, just because the solutions exist does not mean they will be implemented.

In the past decade, some progress has been made, however, change has been slow. Too few consumers are willing to give up low retail prices for ethical production, and governments are not forcing any changes to be made either. This means it is entirely up to the companies whether their clothing is produced ethically or not. Many are not willing to forfeit profits to make their manufacturing a safer environment for workers.

True reform will require a consumer revolution and a strong commitment from companies to improve their manufacturing practices and treatment of labor.

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Is Tradition Timeless? exploring the complexities of reintegrating culture into everyday wear

Designed by Wendy Zhu

India Mehaa Amirthalingam, a junior studying data science and economics at UC Berkeley, cofounded a clothing brand called Kalumkāri with her older sister.

The pieces are manufactured in India and the brand is based in Los Angeles. Amirthalingam named her business after the Kalamkari textile, which is a block print design that typically features geometric or floral motifs in a repeated pattern.

“This Kalamkari print has been in India for centuries,” Amirthalingam

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Image courtesy of Mehaa Amirthalingam

said. “We take that and create a silhouette that fits designs that we wear today.”

Amirthalingam’s clothing brand explores this and other Indian textures in a variety of trendy tops including the halter. Kalumkāri’s slogan, “Inspired by tradition.

Crafted for today,” emphasizes the influences they took from their mother and grandmother’s clothing.

Unlike fast fashion trends, designs like these stay relevant because of their roots in cultural history.

“We want to provide clothing that is at the peak of what is considered fashion today, but also something you can wear five years from now, ” Amirthalingam said. “We took inspiration from a

lot of pieces that we really enjoyed wearing when we were younger.”

Mexico Northwestern performance studies doctoral candidate Gabriel Guzman taught the “Latino/a Performance” course winter quarter, answering the overarching question of “How is fashion performed and expressed through the body as a performance of identity and culture?”

One unit of study was indigenous fashion in Latin America.

Students explored the huipil

ge cou rtes yo fD ior

Recently, trends have rotated and repeated in a rapid, hard-to-keepup-with, spinning cycle. The “ins” and “outs” across generations are reborn, rejuvenated and restyled.

Some of the most reliable bases for these trends originate from tradition and culture, where the ancestors of people in the fashion scene today laid the groundwork for the rise of popularity in specific styles.

While styles are often created from multiple origins, sequined crop tops, cowboy boots and white linens are some examples of popular trends that have roots across South Asia, Mexico and Egypt. Diving deeper into other style influences from these regions reveals the larger implications of how tradition resurfaces modern day.

Ima

By Aanika Sawhney

Image courtesy of Laila Nasara

Egypt School of Education and Social Policy sophomore Mahmoud ElEshmawi says his style is based on three core influences: Egypt, New York and soccer.

El-Eshmawi was born in Alexandria, Egypt, and grew up close to the Mediterranean Sea. He immigrated to New York in 2011 as a kid and has been exposed to the hub of fashion culture ever since.

After experimenting with his aesthetic in the first six months of college, El-Eshmawi found some of his favorite brands.

Two U.K.-based brands he follows

incorporate Arabic text into their it's critical that when outfits designs: Zidouri into athleisure center around these and jewelry and Kuba Petals specific pieces, the into knit pieces. deeper background “Anyone can put an of the clothing isn’t Arabic puff print on a overlooked or hoodie and call it a day, appropriated. This but it's about making it boundary between fashionable and wearable,” extrapolating culture El-Eshmawi said. “It's a and integrating it M ah mo beautiful piece, and it also into fashion can be i ud ElEshmaw has that personal connection challenging, yet it is that only I can understand most of undoubtedly worth the effort. the time walking around.”

Tradition that is manifested in El-Eshmawi also integrates his trends successfully, heritage into the accessories he offers unlimited wears. Through social media, an opportunities for emphasis on statement jewelry has impact in the become especially important. fashion world “I have an old Egyptian coin and beyond. my grandma passed down to me, and I DIY-ed it with some leather, lace and clamps, to turn it into a necklace,” El-Eshmawi said. “I wear it every single day. It's become a staple for me.”

For El-Eshmawi, consistently connecting his clothes to where he comes from is an important reminder. He recently walked in the fashion segment of the annual cultural show, Jabulani, hosted by Northwestern’s African Student Association this winter. In opportunities like these, he said he feels most comfortable wearing his cultural clothing.

Although just a sample of styling created from cultural inspiration internationally, this glimpse into fashion from India, Mexico and Egypt shows the value of renewing tradition in the mainstream. Tradition is defined by its surrounding history and meaning to different groups, and in fashion traditional features can be innovative and provide significance to an outfit. However, of sy rte Image cou

blouse worn by Indigenous women in Mexico and Central America characterized by its loose-fitting fabric, boxy silhouette and floral embroidery. Dior’s Cruise 2024 show featured four huipils crafted by artisans using traditional techniques. However, the attempt to turn tradition into high fashion came with some controversy, since the price points for the blouses became inaccessible to the community they come from.

“What does it mean for this style, practice or way of dress rooted in Indigenous Latin American cultures to be taken up by these designers?” Guzman said. “Other people who see them want to wear them and won’t necessarily know that origin.”

Weavers and embroiderers were photographed and featured in the show campaign and credits.

Their involvement introduced Indigenous craftsmanship from Oaxaca as a part of the larger show’s tribute to Frida Kahlo.

HERITAGE & NATIONALITY THROUGH FASHION

By Shreeya Iyer Designed by Amira Dossani

To hail from a country is a beautiful thing. To carry a sense of belonging is intangible, yet the most prized possession one can hold.

I am a child of the diaspora, like many others.

My ancestors did not write the history of the United States, but they come from India, a country so rich in culture, art and diversity, and a region where colonial encounters grotesquely ripped away its wealth and coexistence.

To fend for themselves, millions of people who hail from South Asia are scattered all over the world.

Some have found white picket fences in the United States, England, or Australia. Some sell knickknacks on street corners on cobblestone streets in Europe. Perhaps you’ll buy a water bottle from one while walking through Parque Guell in Barcelona, or a pair of earrings from one on a roadside stall outside the Uffizi Gallery in Florence.

Some are forced to search for livelihoods in countries stained with inequality. They form the lower strata of society, with no clear path upward – such is the case of South Asians in Singapore.

I studied abroad in Singapore this past fall, and my decision to do so stemmed from a desire to live in a country as diverse as my own yet with a large South Asian diaspora. I wanted to be in a place rich with the cultures and traditions my parents grew up with and one that even spoke my mother tongue, Tamil.

I have always been comfortable with my Indian American identity. Nevertheless, curiosity over the experience of an Indian diaspora member in an area where Indians formed a larger subset of the population pushed me to Singapore, where a sense of belonging complicated itself so immensely.

Though I am Tamil, I am not Singaporean, though by looking at me one could not discern.

My best friends in Singapore were fellow exchange students, heeding from the United States, the Czech Republic, and Australia – none were Indian. We discussed dressing more modestly – clearly, because when in Rome. But no matter how much they adhered to the dressing styles of Singapore, they would always be tourists from a foreign country where I never was.

"IT IS A STRANGE THING TO BELONG. THERE’S AN ASSUMPTION THAT ONE FEELS THE MOST PRIMAL SENSE OF BELONGING IN A HOMOGENOUS SOCIETY, YET TO ME IT WAS SO INTRINSICALLY UNNERVING."

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It is a strange thing to belong. There’s an assumption that one feels the most primal sense of belonging in a homogenous society, yet to me it was so intrinsically unnerving. Never had I felt a necessity to prove or justify my heritage so strongly as I did during my months in Southeast Asia. I was proud to be recognized as Indian or Singaporean, but I longed for someone to look a little deeper – I wanted them to know me, to see the intricacies that exist from my Americanness.

Even within my travels, strangely enough, I enjoyed myself in places where I blended in least, like the Philippines or Cambodia, where my accent revealed where I was from, and not so much my face.

Somehow, the same styles that made me

feel most comfortable in the United States propelled me into a liminal space of neither here nor there in Singapore. The long, printed skirts with crop tops and jhumkas and dupattas with jeans, that make me confident at home, made me feel lost in the crowd in Singapore.

How does one reconcile heritage and nationality t h r o u g h fashion?

The task becomes e n t i r e l y Sisyphean when the same choices that enhance your identity in one place dull it in another.

The style I’ve developed for myself in a country where South Asians are an extremely small minority is somewhat of an oddity in a place where they make up a considerable size of the population.

"TO HAIL FROM A COUNTRY IS A BEAUTIFUL THING. TO CARRY A SENSE OF BELONGING IS INTANGIBLE, YET THE MOST PRIZED POSSESSION ONE CAN HOLD."

THE EYE HAS TO TRAVEL Creative Directors: Grace Jordan-Weinstein, Keya Soni Chaudhuri Photographer: Savannah Spring Photo assists: Sarah Villamil, Jonathan Rho Stylists: Isabella Hernandez, Brett Rogers Models: Hannah Nwobodo, Sarah Yoo, Isabella Hernandez

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l a n o i t a n r e Int s d a e r th

By Julia Benkendorf

Four NU students reflect on their style evolutions When Weinberg junior Aliya Bekshenova left her home in Kazakhstan to start her first year at Northwestern, she knew life would look a lot different in the United States. Beyond the obvious differences of being in a new country, the daily ways of using fashion as both a utility and means of self-expression immediately stuck out as a new adaptation.

With over nine thousand international students from over 120 countries, a diverse global influence can certainly be felt on campus. In an increasingly globalized and technologically connected world, it might be easy to overlook the subtle nuances across cultural styles and outlooks toward fashion.

However, upon starting university in a different country, many international students faced the challenge of adjusting to American style.

Bekshenova noted the main style difference she has found since leaving Kazakhstan is rooted in the way Americans develop personal fashion tastes. While influencer culture and micro-trends seemingly dominate the Western trend cycle, the culture back home, she says, is much less turbulent.

“At home, we don’t really have these super specific popular people to look to for inspiration,” Bekshenova says. “It’s more like, you go for a

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specific vibe that is good to you, but it is not as trend dependent.”

While she feels she dresses more “puttogether” at home, she has seen her closet evolve into one with much more color and idiosyncrasy since coming to Northwestern (and filled with much more loungewear than ever before).

SESP junior and Hong Kong native Katia Shek echoed the stark difference in emphasis on presentability between countries. Shek attributed the increased focus on appearances back at home to the idea that presentation is a key factor in relationship-building in Asian cultures.

“I think Hong Kong people really care about appearance,” Shek says . “They judge a lot based on that, so most people put more effort into it. I don't see it as a good or bad thing.

ng ha yZ Lu c

Because a lot of the industries are very trade-based, it takes a lot of human-to-human relationshipbuilding, and so I think being presentable comes in handy there, almost economically.”

Shek’s daily style consists primarily of elevated basics with high re-wear potential, mixed with unique, often-thrifted staple pieces influenced by her friends and Hong Kong’s thrifting and scavenging culture.

Weinberg senior Emily Park, originally from Seoul, South Korea, believes the essential characteristic of Korean style is “trying to fit in,” with trends and popular styles, unlike in the States, where people are more open to dressing with individual motivations – in other words, both comfort and fashion are seen as culturally acceptable priorities when choosing an outfit for the day.

“When I came here for the first time, I was stoked to wear pajama pants outside and just leggings with sweatpants to class,” says Park. “It actually took me a while to get back into more of a thought process on how I looked and presented myself.”

In contrast, Weinberg senior Lucy Zhang from Shanghai, China feels like her style has become more vibrant and adventurous, as she draws inspiration from social media trends on Rednote, which she feels is more on-trend with progressive Chinese style. She also noted the prevalence in Shanghai of shopping from sites like Taobao, which she feels is a common experience among fellow Chinese international students.

Zhang’s everyday style is feminine and often vintage-inspired, implementing lots of pastels, florals, and classic silhouettes, with the occasional edge or pop of a bold accent color. Despite being abroad, Zhang uses the power of online communities to remain tethered to Chinese trends, still embracing similar style philosophies held before coming to Evanston, while simultaneously feeling enabled by the general culture of acceptance amongst the Northwestern

student body of global and fashion-forward style.

“I feel more comfortable about what I’m wearing now because on campus, people usually dress more casual and everyone feels very inclusive,” Zhang said. “So even though I dress a little bit [fancier] in my day-to-day, nobody’s going to judge me.”

While the exchange of trends and styles from abroad manifests in different ways among each student, one common thread weaves through Northwestern’s secret fashion rulebook: Ditch the trenchcoats, a staple in European and Asian streetwear, and buy a black North Face.

“Everyone here loves puffers,” Shek said. “When I first got here, I brought a lot of trench coats, but I felt like the exception. I think you just have to be comfortable enough with your identity to wear what you want, though.”

Despite the cultural contrasts in fashion norms, one thing remains clear: style is a fluid and personal journey, shaped by both heritage and environment. For international students, adapting to American fashion is a reflection of evolving identities, newfound freedoms, and the blending of global influences. Whether embracing loungewear, experimenting with vibrant colors, or holding onto elements of home, these students navigate fashion as both a form of self-expression and a bridge between cultures.

Designed By Linda Montejo-

Bartolon

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FASHION

DIPLOMACY

By Arya Parchand Designed by Amira Dossani

Clothing as a Cultural Bridge

Fashion is arguably one of the strongest forms of selfexpression, acting as a way to communicate through artistic choices. Showcasing style has become a way to display messages, not only on a personal level but also on an international level. Fashion is more than just about couture and looks- it can be used as a strong and influential tool of diplomacy. World leaders and diplomats use clothing to impact global perceptions and messages, making fashion diplomacy a well-utilized instrument of connection. Fashion diplomacy is the use of clothing and style to express cultural values and foster diplomatic relations. World leaders use this nonverbal form of communication to express their attitudes towards foreign policy or send political messages.

Power suits and business casual have long been considered benchmarks for professional attire in the

"Showcasing style has become a way to display messages, not only on a personal level but also on an international level."

Western world, however, that is not the case everywhere.

It is important to acknowledge how fashion functions as an extension of culture. Historically, diplomats and politicians have dressed in the cultural attire of the country they visit when conducting business and

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negotiations overseas, which is a testament to the craft of diplomacy.

Respecting and learning a new culture creates trust and connection on an international scale.

A greater emphasis on fashion is traditionally placed on women, and in a society that places such a high value on looks, statesmen must be particular with what they choose to wear. Women in power have taken advantage of this cultural expectation, by using clothing to convey a message. One of the most notable examples of this phenomenon is fashion icon Michelle Obama. She is said to have changed the face of fashion in the Oval Office, as she would subtly use fashion to pay tribute to global influences.

Her use of British designers during a state dinner with England and Japanese designers to welcome the

Prime Minister of Japan was calculated and pivotal in the worlds of diplomacy and fashion. This deliberate decision was iterated by Meredith Koop, Obama's stylist: “We always take into account where we are going and that country's cultural norms. The goal is to pay tribute to each place we visit [while] never losing the spirit of the United States.” Obama praises Koop’s ability to think, “not only about fashion but also the moment and the message.”

While Michelle Obama is often credited with popularizing fashion diplomacy in the United States,

"Clothing itself acts as an unassuming material force that shapes global narratives, whether it be through world leaders or fashion empires."

commands a sense of respect and community, allowing leaders to create relationships based on a foundation of appreciation and civility. Shifting political landscapes and international turmoil may contribute to the evolution of fashion’s use as a diplomatic tool into the future, creating specific movements that can be expressed by clothing or popularized through media. In today’s world, fashion acts as a bridge to bring the international community closer. Clothing itself acts as an unassuming material force that shapes global narratives, whether it be through world leaders or fashion empires. Fashion diplomacy continues to be a tapestry that weaves together culture, politics, and tradition in a way that encourages harmony and respectful collaboration on a global scale.

it is not a new practice. Many previous first ladies and other international women in power have all done the same, like Jackie Kennedy or Kate Middleton. These women have used specific clothing choices to reflect international stances in subtle ways. These choices are important to showing a level of cultural understanding and respect, which in turn strengthens international relations.

But fashion expression through specific style choices is not the only way clothing can make an international impact. In fact, many countries have used fashion to shape their global image without direct involvement from diplomats or politicians. While not necessarily representative of the broader culture, haute couture from France and Italy’s numerous luxury brands are at the forefront of each country's image. So, world leaders often still consider fashion as a function of diplomacy, since it can reflect an important part of a country’s identity.

The role of fashion diplomacy continues to grow as a highly effective soft power technique in international politics, with more leaders using it as a tool of collaboration. This can be especially perceived through media, where even more international fashion aspects are applicable. The cultural significance of fashion

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Jet-Se tting

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Creative Directors: Grace Jordan-Weinstein, Keya Soni Chaudhuri Photographer: Clara Wrolstad Photo assist: Sarai Quintanar Stylists: Brett Rogers, Jacqueline Le Models: Jade Garcia, Mackenzie Kirkwood, Victoria Wade

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Weaving Tradition and Innovation

By Isa Grau Designed by Linda Montejo-Bartolon

Nestled along the Caribbean Nestled along the Caribbean coast, Cartagena is an emerging fashion hub that demands global recognition, blending innovation, sustainability, and a celebration of vibrant cultural identity. The world’s traditional fashion capitals—Paris, Milan, New York—have long dictated the rules of style, yet Cartagena is quietly rewriting them, offering something entirely different and deeply personal. With its rich cultural heritage, commitment to eco-conscious craftsmanship and a fashion scene that bursts with color and passion, Cartagena is no longer just a picturesque coastal city; it is an emerging powerhouse of style that the fashion world must take seriously.

As one wanders the streets of Cartagena, Colombia, they are enveloped in a symphony of color and culture—vivid colonial facades in turquoise and ochre, the scent of maracuyá in the air, and the rhythmic strumming of street musicians.

Fashion here is a vibrant expression of heritage, with polleras swirling in the bold hues of the Colombian flag and artisans weaving stories into every stitch. Just as the city blends Indigenous, African and Spanish influences, so too does its fashion, 38

where tradition and innovation coexist in every garment.

Growing up in the United States, I was surrounded by a culture of minimalism — clean lines, neutral palettes and the constant need to strip away excess. Fashion was often about conformity, fitting into a mold of polished restraint. But Cartagena was different. It was an explosion of passion and personal identity, a city that rejected monotony and embraced life in full color. Walking its streets, I saw not just fashion but self-expression woven into every thread. The energy of Cartagena is intoxicating — its streets hum with the scent of maracuyá, the strumming of street musicians, and the vivid hues of colonial facades in turquoise, ochre, and fuchsia. Here, fashion isn’t about blending in; it’s about standing out and being alive.

Cartagena showed me that style is meant to be felt, not just worn.

One of the most iconic items found on Cartagena’s streets is the handwoven mochila, a testament to Indigenous artistry with its intricate patterns and bold colors.

African heritage shines through in voluminous silhouettes and vibrant, beaded accessories, while Spanish influence lingers in delicate

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lacework and embroidery. Street vendors showcase this cultural fusion in their handcrafted jewelry and textiles, each piece a reflection of Colombia’s artisanal legacy — where past and present exist in every stitch.

Interwoven into the heart of Colombia is its status as the second most biodiverse country in the world.

As the global rise of fast fashion continues to fuel environmental degradation, the people of Colombia have begun to take a stand, addressing the fashion industry’s impact on the planet with a commitment to sustainability. In response to the growing concerns of waste and pollution, Colombia is emerging as a leader in biodesign, developing innovative solutions to fashion’s biggest problem. At the Universidad de los Andes, students invented Woocoa, a vegan wool, while researchers developed dyeing practices that reduce environmental harm.

Cartagena acts as a living runway for Colombian fashion as the city's tropical climate inspires airy

But Cartagena was different.

It was an explosion of passion and personal identity, a city that rejected monotony and embraced life in full color.

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silhouettes. Colombian fashion embraces maximalism, bursting with vibrant prints that mirror the country’s biodiversity — lush palm fronds, exotic florals, sunsets, and the electric blues of the Caribbean Sea. Luxury designer boutiques like Silvia Tcherassi and Johanna Ortiz showcase bold, architectural ruffles and daring color palettes, while swimwear brands like OndadeMar and Agua Bendita turn the natural world into wearable art. Dresses and two-piece sets billow with movement, ensuring that even in the heat, those who walk Cartagena’s streets do so with effortless glamour.

Yet, the global fashion industry continues to overlook Cartagena. Why? The city’s designers are championing handmade, slow fashion that is both practical and rooted in tradition. Each garment tells a story of intentional design and craftsmanship, with an emphasis on ecoconscious materials and reduced climate impact. By partnering with local artisans, these designers help preserve Colombia's rich cultural history while pushing the boundaries of modern fashion.

One such visionary brand is Verdi, which takes the beloved Colombian mochila and reimagines it as a luxury accessory woven with metal threads.

Their use of natural fibers and eco-friendly dyes

highlights their commitment to sustainability. The brand’s collaboration with Cartier for their Trinity 100 celebration in Shanghai underscores the global recognition of Colombian craftsmanship. This is just one example of how Colombia’s designers are making waves beyond Latin America — so why is the world still slow to acknowledge them?

Cartagena’s fashion scene stands as a testament to this innovative, forward-thinking ethos. The city is alive with a sense of possibility, where fashion is not just a reflection of the present, but a celebration of the past and the future intertwined. Colombian designers are reshaping the fashion industry through ethical production practices, eco-conscious materials, and cultural storytelling. Cartagena, like the fashion it inspires, is a living canvas — where tradition and modernity collide, creating something entirely new and undeniably bold. Here, heritage is never forgotten, but it is reinterpreted, redefined and reimagined for the future.

The city pulses with a joyous celebration of life that radiates through its colors, textures, and traditions.

Colombian fashion mirrors the nation’s love for life itself — a love so strong that it extends to a passionate commitment to preserving the planet. The land, with its stunning biodiversity, is an inseparable part of Colombia’s cultural identity, and its protection is essential to the continuity of life. As designers weave together the threads of history and innovation, they do so with a deep respect for the land and the people who inhabit it. Their bold, daring creations are not just garments — they are statements, pieces of living history that represent the future of fashion.

It’s time for the world to take notice. Cartagena is not just a hidden gem — it is a fashion capital in its own right, and its influence is only beginning to unfold.

Scandinavian Fashion

By Kayln Jackson Designed by Hyouji Joo

In recent years, Vogue has dubbed Copenhagen as the “fifth fashion week” destination, leading the charge on defining “Scandi style” in the fashion world. Scandinavian style was once primarily known for its bold colors and whimsical silhouettes, but a novel definition of the northern European aesthetic is slowly emerging. Modern Scandi style focuses on functional fashion through neutral investment pieces and layered looks.

While Nordic fashion still features colorful accessories and bold statement pieces, these elements do not define the style.

The latest Copenhagen Fashion Week shows highlight looks characterized by comfort, sustainability, and timelessness. This gradual paradigm shift is a direct result of increased regional sustainability efforts and rich welfare states, which have altered the scope of Scandinavian fashion.

In the early 2000s, Scandinavian style was considered relatively bohemian. As the 2010s approached, the style shifted back to simplistic shades and silhouettes.

In recent years, bright palettes with pigmented stripes and diverse textures have crept onto the scene – taking off in the Danish capital. Today, Nordic fashion is a combination of principal 21st century trends.

Northern European style is centered around minimalistic pieces and mindful consumption, featuring colorful accessories that can be easily reworn in any season to keep up with the region’s fickle weather patterns.

According to Vogue, Scandinavian designers view their style as a celebration of natural beauty that unites form and function through an emphasis on quality craftsmanship.

Nordic fashion is comfy, ethical, and slow – with a targeted focus on longlasting pieces. Danish street style emphasizes elevated neutral pieces for an effortlessly casual look. CPHFW 2025 emphasized investing in suede

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staples, colorful button-ups to contrast neutrals, and a transitional trench coat to wear over ribbed spring tanks or woolen winter knits.

Modern Scandinavian looks feature pigmented statement pieces such as colorful knit scarves or vibrant claw clips for the “cherry on top” of a practical outfit. Not to mention, pedestrians prefer to fight the Copenhagen cold in style by embracing the art of layering.

Doubling up on sweaters or jackets is commonplace on streets of the Danish capital – where everyone is excited to take vivacious risks by breaking up clean lines and maximizing a monochromatic moment with myriad textures.

Regional sustainability efforts have influenced this stylistic shift. Scandinavia is deeply concerned about climate change, with the regional governments actively working towards sustainable solutions.

Denmark is a global leader in environmental awareness efforts, recycling 2/3 of national waste (compared to 1/3 in the United States) with a goal to reduce 70% of greenhouse gas emissions by 2030. Copenhagen Fashion Week has a sustainable action plan that requires brands to meet certain guidelines before allowing models to walk in their shows. For instance, CPHFW brands cannot employ single-use props in their shows and must agree to repurpose any unsold clothes. Danish brands like Ganni and Aiayu have even implemented initiatives to promote circular fashion, decrease their carbon footprint, and source sustainable fibers such as organic cotton and llama wool. Larger players in Denmark, such as the Global Fashion Agenda and the Danish Fashion Ethical Charter, aim to redefine national, regional, and global sustainability efforts in the fashion space. Prioritizing environmental efforts has shifted the focus of Danish consumers, who participate in slower fashion movements to prioritize ethics and durability while shopping.

Denmark is famous for its strong welfare state that provides low-cost healthcare,

education, and social services to all; rooted in the belief that all citizens should have the resources to pursue reasonable, “hygge” filled lives. The Scandinavian welfare model contributes to Copenhagen’s thriving luxury market, since consumers can afford to spend more on higher quality products that will last them a lifetime – rather than spending their extra earnings on college tuition. The Danish capital is also experiencing a rise in its second-hand luxury market due to increased environmental consciousness across the country. Copenhagen is home to a thriving thrift scene, with consumers flocking to charity shops, curated vintage boutiques, and clothing swaps. Pre-owned luxury shopping is highly encouraged by brands participating in Copenhagen Fashion Week, while consignment stores like Second Society and The Vintage Bar specialize in the resale of authentic designer pieces.

The evolution of Nordic style throughout the 21st century is incredibly exciting. Scandinavian sustainability efforts and robust welfare states have contributed to the rise in mindful consumption, showcased through Copenhagen’s emphasis on ethical production and secondhand shopping. These elements have turned a new leaf for Scandinavian fashion that showcases regional values and the importance of choosing timeless staples over fastfashion trends. Copehagen has initiated a new era of Scandinavian fashion, it’s only a matter of time before other fashion capitals start to take notes!

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Ba

Folkló

Creative Directors: Grace Jordan-Weinstein

and Keya Soni Chaudhuri

Photographer: Jonathan Rho

Assists: Isabella Hernandez, Jacqueline Le, Sarah Yoo

Models: Erika Vazquez, Kelly Vogt, Marcela

Cano, Leslie Gonzalez-Flores

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