The Book by StyleCircle Vol. 1

THE BOOK

BY STYLECIRCLE

THE BOOK BY STYLECIRCLE TWO

ISSUE ONE

THE BOOK

BY STYLECIRCLE

CON 26

06 Op-Ed

Editorial

ME SSAG E F RO M THE TE A M

IDENTITIES TRANSFORMED

08 Article

32

CHEAP

FAT P O L I T I C S

48 Article

HI S TO RY OF M AS S EXODUS

Essay

12

Editorial

36

LACK OF COLOUR

I D ENT I FY

16 Article

FASHION CYCLES

54 Article

STUDENT WORKSPACES

Story

58

42

Editorial

COME AS YOU ARE

Editorial

I NT R I NS I C

24 Article

64

THE U N I FO RM

COVER STORY

Editorial

N

MASTHEAD CO-EDITOR IN CHIEF CREATIVE BRONWYN MARSHALL

CO-EDITOR IN CHIEF CONTENT MILLIE YATES

ART DIRECTOR LUKE SEVERIN COPY EDITOR & GRAPHIC DESIGNER KAT ZAWADZKI DISTRIBUTION MANAGER & PR LEAD ZOYA SHABAN

PR & MARKETING TEAM MEDIA RELATIONS MANAGER

CLARA PURDY SOCIAL MEDIA LEAD AIMERANCE NSANGU MARKETING LEAD MUNA GASIM MEDIA RELATIONS LEAD JANELLE TYME SOCIAL MEDIA ACCOUNT COORDINATORS EMMI OJANSIVU GABRIELLE BOUCHINHA HANNAH DOBBIE JOANNA LUPKER

WRITERS ALEXADRIA REGIS ALICIA CHURILLA JANELLE TYME JESSICA HUYNH SARAH SAID ISABELLE VOGEL MYLENE LI PHOTOGRAPHERS

CLARA PURDY EMMETT CHARUK EMMI OJANSIVU HANNAH DOBBIE HOLLY D’CUNHA NADIA EBRAHIM SERENA MOLA ILLUSTRATOR NATALIE MIZZEN

LETTER FROM THE EDITORS M: I am standing behind a giant set-piece and Bronwyn is on the other side of an incredibly complicated photography rig. I’m struck with the greatest sense of deja-vu; this shoot seems emblematic of a dream Bronwyn and I had almost exactly a year earlier. Our hope was to create a platform for students to both showcase their work and voice their concerns surrounding the fashion industry. What we as a team created has surpassed our vision and morphed into something much more powerful; a publication that supports its members, promotes collaboration and fosters a sense of unity in an industry that often seems cold.

Fashion may be always changing, but with an annual issue we hoped to capture its timelessness in print. This talented group of contributors both humble and inspire me. As

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I sit perched behind a set piece, I’m filled with the deepest sense of appreciation.

B: Getting involved at Ryerson in my first year was one the best decisions I have made. This engagement has allowed me the opportunity to meet and work closely with incredibly talented students from many different programs with diverse skills and interests. When Millie and I started dreaming about creating a fashion publication we knew it would not be easy, however with endless support from our team and our friends at the Ryerson Communication and Design Society this dream has become a reality. The dedication and work ethic demonstrated by our team has been astound ing particularly since most members are taking a full course in challenging programs.

Words cannot express how grateful we are for

PHOTOS BY EMMETT CHARUK; WORDS BY BRONWYN MARSHALL AND MILLIE YATES

PHOTO BY EMMETT CHARUK

everyone that has helped us out along the way.

School to us is all about meeting people and being able to take the skills that we are learning in the classroom and apply them to a real life setting. The Book by StyleCircle has allowed us to do this and so much more. This industry is not one dimensional and being involved with an interdisciplinary team has allowed our group of students to be exposed to all parts of the industry, has allowed us to develop new friendships and a network of passionate future professionals that we will no doubt be reaching out to in the future.

M&B: We began as a team of five students, working away on the weekends in our school’s library. Over the course of four months, we gained sixteen new members, rebooted our website and began planning for what would

be the busiest year of our lives. If anything, this opportunity has opened our eyes to the drive behind every publication. Every member is crucial the magazine’s success, and without a deep commitment from every member, the publication could not exist. United by a common interest in fashion and a passion for photography, writing and illustration, our team has worked tirelessly as a unit for the last eight months. What we bring to you today is a compilation of all that provokes and inspires us.

If our publication has made you think twice about the fashion industry (even if only for a moment), our year of work will have been well worth it.

THE BOOK BY STYLECIRCLE SEVEN

CHEAP A SHIFT IN PRIORITIES IN OUR SHOPPING HABITS HAS LED TO A LOSS OF VALUE AND LONGEVITY IN THE GARMENTS WE WEAR. WHY DO WE SHOP THE WAY WE DO, AND WHAT CAN WE DO TO BREAK THE CYCLE OF CHEAP CONSUMPTION?

Words by Katherine Zawadzki, Photos by Emmett Charuk, Model Heather Rattray

IT’S NO SECRET THAT WE’RE CHEAP. In fact, it’s something that we’re proud of. Whether it’s scoring a mad bargain on a designer dress –20% off! 30% off!

75% off!– or finding a month-old chocolate bar for 79 cents, we just can’t shake off the desire of getting what we want for less.

And it couldn’t be easier. Americans are spending a meager 3% of their annual income on apparel today, versus 11% only 60 years ago, but are buying 64 new items each year up from 40 items in 1991. These numbers themselves speak volumes to the drop in apparel prices, and to the influx of cheap fashion in our daily lives.

Shopping has shifted from luxury to leisure, allowing consumers to walk mindlessly into Forever21 or Zara on their lunch breaks and return to their desks high off polyester and red-stickered price tags. But why do we EIGHT WWW.STYLECIRCLE.ORG

shop this way? Why have our priorities changed from longevity to disposability?

FROM THE BEGINNING

The journey to cheap began in the 1860s when a man named John Wanamaker opened his first retail colossus in Philadelphia. Customers could purchase mass produced domestic and imported goods that catered to people of all economic classes. Wanamaker popularized the use of price tags, eliminating the barter culture of the past.

Even at that time critics opposed the idea of selling low priced, mass produced goods and feared for small local businesses and the state of the American economy.

Despite this, low prices seemed to improve the quality of ordinary people’s lives; luxuries were not just for wealthy people anymore. >>

PHOTOS BY EMMETT CHARUK; WORDS BY KATHERINE ZAWADZKI; MODEL HEATHER RATTRAY ( ELMER OLSEN MODELS)

After the democratization of the retail industry came the invention of the shopping cart and barcode, which shifted practices from full-service to self-service and reduced the need for high-quality staff. Technology also played an important role in lowering cost for manufacturers, therefore passing low prices onto consumers. Production shifted overseas to further drop the dollar. Today 97.5% of clothing purchased in the USA is imported, wher as twenty years ago this number was just 43.8%.

Huge discount corporations like Walmart and Kmart opened their doors in the early 1960s, taking “cheap culture” even further. These locations focused primarily on price, throwing customer experience, store layout and design to the wayside.

Retailers pursued a higher volume, low-profit margin business model, promoting good deals and mass consumption in order to turn a profit. Moving into the 21st century these mega-retailers became super centres, allowing customers to take care of everything from their grocery shopping to glasses prescriptions to holiday shopping. Shopping, it seems, became all about low prices; lots and lots of them.

Today, the average closet is 6ft x 8ft – the size of a modest bedroom 40 years ago. We are expanding in all facts of life, from our houses to our waistlines, to accommodate for this shift towards mass consumption.

As a nation, we feel we deserve everything. If we work for it, save for it, look at it, even touch it, it can be ours.

Where once a computer was a family luxury perhaps stored in the modest bedroom of yore, nowadays they are on everyone’s laps. The same goes for winter coats, summer dresses, and leather shoes – we all have multiple. But do we really need multiple?

TECHNOLOGY & LEISURE

We can look to the internet for an answer to this question.

A top example of overconsumption comes in the form TEN WWW.STYLECIRCLE.ORG

of carefully edited ‘haul’ videos on YouTube. Created primarily by beauty, fashion, and lifestyle vloggers, these videos feature individuals showing viewers what they’ve purchased, usually en masse, and can include anything from lipstick to leotards. Sometimes they’re themed by holiday: Valentines Day hauls, birthday hauls, Christmas hauls. Sometimes by store: Topshop, Zara, Forever21.

If you type haul into YouTube, 14.5 million unique videos pop-up, and despite varying content, what they all have in common is the promotion of over consumption. YouTubers like Bethany Mota, Zoella, and Carli Bybel have no real need for the products they buy. When describing each item, popular phrases include “I just loved it,” “It was too cheap to leave in store,” or “Isn’t it cute?!”

Videos like these are so popular that their creators have millions of subscribers across various social media platforms. Brands have caught onto this trend and often ‘sponsor’ videos to promote their products or services. I don’t want to sound like the shopping police here, but this habit of ‘hauling’ goods just for the sake of it sounds like a slippery slope that we shouldn’t be teetering at the top of. If one were to do some simple math to see how many products were purchased because of these hauls – let’s say, five items per video, on average, and usually more—they would find that the people on YouTube have bought 72.5 million consumer goods. That’s a crazy amount of shoes, tops, and scented candles.

Nowadays, shopping is a leisure activity especially online, where looking at retail products can quickly turn from speedy search to a multi-hour browse. A hefty 45% of millennials are guilty of spending more than an hour each day looking at retail sites for no real reason other than finding it fun. It’s entertainment. My first year of university I would go back to my dorm room after class and sit for two, maybe three hours just looking and looking at sites and never buying a single thing. And even in the real world, it’s hard to escape the lure of chic storefronts or modern shopping meccas. Meeting friends at the mall or going shopping in quirky neighborhoods are top-rated pastimes for modern youth. And don’t get me started on outlet malls. A trip to one of these is a holiday in and of itself – in fact, factory outlets are America’s #1 tourist destination. Carefully placed miles outside of city centres, outlet malls are the breeding grounds for unnecessary consumption. Oftentimes they don’t even provide a ‘good deal’, but still shoppers flock to them. Retailers stock a few items from regular stores –the things that didn’t sell—and then fill the outlets with cheap products that only resemble the brand because of the logo.

From the internet to the outlet, we are surrounded by low prices and cheap products day after day. But after we’ve

snagged ourselves a bargain on clothing or products we think we want, and supported those retailers who are constantly outputting new products daily, what happens to our rejects?

PHOTOS BY EMMETT CHARUK; WORDS BY KATHERINE ZAWADZKI; MODEL HEATHER RATTRAY ( ELMER OLSEN MODELS)

THRIFT STORES

When asked, most consumers will say that they donate their old clothing to charities like Goodwill, the Salvation Army, and Value Village; they feel good because they’re helping to clothe people who can’t afford new clothes, while also prolonging the lifecycle of garments and keeping them out of trash cans.

What most people don’t often realize, however, is that donated items don’t simply appear on the sales floor after donation – there is a long process the items go through before reaching the racks, that is, if they even make it there.

In fact, only 20% of donated items are actually resold in store. Employees are trained to recognize quality, brands, vintage, and even to follow trends, so that the items stocked are desirable to thrifty customers. A warehouse in New York that manages donations for eight thrift stores in its area picks exactly 11,200 items daily.

No more, no less. And they never run dry.

What happens to the items that aren’t chosen for resale is a little less apparent. The garments in poor condition are either turned into rags, or simply disposed of. The remaining items are squished and stamped into huge cubes, and shipped to countries with weaker garment industries, such as Zambia, Africa, where they become part of a cutthroat secondhand fashion industry.

While we can imagine there are underdressed African children desperate to wear our discarded graphic tees and khakis, the reality is a lot less heartwarming. With technological advances and the widespread availability of the internet and cell phones in African countries, these consumers have become much more picky and fashion-forward. Economic development has begun to raise household incomes, and an influx of available cheap, new Chinese-made garments requires those in the secondhand industry to be more conscious of style, trend, and brand when deciding which giant compacted cubes to purchase. While this ‘solution’ to our increased consumption has been working, it is not the answer. Our consumption rates are only rising, and the demand for our rejects in developing countries is diminishing quickly.

SOLUTIONS

The simple solution to this problem of over-consumption is to just buy less stuff. The economy is not going to collapse if you go a few weeks without buying a new outfit. It

can be hard to do, but developing a strong inner voice - do I really need this? - regarding purchasing decisions can do a world of good. You could also consider checking out a thrift store or two the things you can find there are inexpensive, environmentally friendly, and keep profit in the local community. If demand increases for secondhand items, then perhaps the industry could divert more of its stock away from the overseas resale industry to re-circulate within our own economy.

Some people may argue that if we all stopped buying new things and only shopped secondhand, we would just run out of stuff. The point is not to stop producing products altogether, but to shift the focus from fast, cheap fashion to a slow fashion cycle. Spending more on less seems counterintuitive, but yields fantastic results.

Supporting craftspeople, local designers, and ethical or environmental brands is well worth a higher price, because this insures the production of quality goods over time.

You vote with your wallet, so why line the pockets of cheap discount and fast-fashion retailers when you can invest in products made by people you know and trust?

This reduces the number of goods being produced, diminishes waste, and benefits suppliers directly. Plus,

consumption rates are only rising, and the demand for our rejects in developing countries is diminishing quickly. you’ll love every item you buy because you’ve put the thought, care, and money into being more conscious of your purchasing decisions.

And as much as we would like to think implementing sustainable and ethical practices in the current fast fashion framework is enough, the simple fact is that we are consuming too much. H&M may be the top user of organic cotton in the world, but that still means that the company is using a lot of cotton. The industry operates on supply and demand – if we, as consumers, demand a change from a lot of cheap things to a few quality products in our everyday lives, the industry can do nothing but supply what we want. With this power we have the unique ability to change a lot simply by doing less. ◊ THE BOOK BY STYLECIRCLE ELEVEN

PHOTOS BY HOLLY D’CUNHA MODELS CAMILLI HUTCHESON AND PAT MURDOCH

This series is inspired by the lack of colour that becomes prevalent in the mid-season between winter and spring, and expresses a very consuming lack of vibrancy in both mindset and surroundings during this time. Intricacy of detail and variation of texture in the clothing hold a strong sense of individual identity. All clothing and accessories are ethically sourced.

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THE BOOK BY STYLECIRCLE FIFTEEN

THE LIFE AND TIMES OF A FASHION TREND

PHOTO BY SERENA MOLA; WORDS BY JANELLE TYME

WORDS BY JANELLE TYME

Have you ever wondered how designers seem to debut similar styles at fashion events just days apart? How do these trends start?

It’s quite easy to imagine a roundtable conference where the world’s elite designers deliberate ideas and come to agreements on what the new trends of the season will be, and this is especially believable when you see the distinct similarities between a number of different designer and retailer collections, for example the uncanny similitude between luxury runway pieces and Forever21’s new arrivals. The truth about trends is that there is often a middle man involved in this ingenuity. These middle men are known as trend forecasters and their industry is a large one.

There are an estimated 1500 fashion trend forecasters in today’s market, and every fashion brand consults their own. About 40 years ago, designers were constantly struggling to seek inspiration to fulfill their seasonal demands and, thus, fashion trend forecasting was born, making the creative process a little more streamlined. Large forecasting brands such as WGSN cater to anyone, from elite brands such as Celine and Rebecca Taylor to mass-market retailers such as H&M and Zara.

The majority of their client are designers, but CEOs, merchandisers and retailers use forecasting services, too. Firms like WGSN employee trend sociologists, cultural anthropologists, futurologists, and the like to dedicate their time to trend analysis and forecasting.

Often times, the process of creating a trend from scratch begins with these experts convening to share ideas and the latest in fabrics, finishes, and technologies.

The next step in the process is the study of colour theory from institutes such as Pantone. These forecasting firms peruse the far recesses of the globe, examining street style in different countries, surveying the most sought-after pieces that both popular and lesser-known bloggers are wearing that may be on the rise, and conducting market research analysis to evaluate not only the fashion industry, but global events that will affect trends as well.

And, thus, a trend is born! The expert findings are then presented in a trend report to the client, who will apply these trends to their next collection. Once designed, these collections will likely be used as inspiration for mass market retailer collections, to be presented and delivered to the salivating masses of eager >>

THE BOOK BY STYLECIRCLE SEVENTEEN

PHOTOS BY BRONWYN MARSHALL; WORDS BY JANELLE TYME

shoppers. It may seem like a massive amount consulting Laver, himself, in the 1960s to deof work just to devise a trend, but if you termine whether the mini skirt would still be in look at the fashion industry as a gargantuan style for next season, or if the midi-skirt would multi-trillion-dollar machine, this work is nec- be the new à la mode piece of the season. Laessary to keep the machine keep the machine ver informed him that the mini-skirt would well-oiled and functioning. But what about still be the coveted piece for another two years, the trends that aren’t so new – the ones that whereas other experts were predicting that the seem to come full circle? Remember digging midi-skirt would be in. Laver was right — the through your mom’s old clothing from back expert hype surrounding the midi-skirt deflatin the day looking for precious band tees? It’s ed like a popped balloon, and women continsafe to say that she probably had the same ex- ued to wear mini-skirts. And, now, upwards of 50 years later, midi-skirts are perience with her own mom’s all the rage, seen on the runwardrobe. Or what about vin- “With trend forecasting ways of Rodarte, Celine, and tage thrift shopping? These consultancies, all Louis Vuitton, to name a few. repeat offenders keep popdesigners and retailers Laver’s Law can be applied ping back up into the mainto nearly every cyclical trend stream, whether it be acid wash hope for their pieces that is currently seen, and jeans, crop tops, mom-jeans, to land the desired spot can even be accelerated to fit high-waisted bottoms, over- between daring and into today’s rapidly changing alls, or chokers it’s safe to say fashion market. that the list goes on and on… smart both before its Trends follow a certain and on. Such trends can be time but also, currently pattern in their development assumed to be cyclical trends. trending.” and creation. With trend foreIn the 1930s, fashion theorist and historian James Laver created the theory casting consultancies, all designers and retailers of what is now known as Laver’s Law, which hope for their pieces to land the desired spot underlined the 12 cycles of fashion trends. between daring and smart, before its time but According to this theory trends that are ten currently trending, too. The clothes from that years before their time are seen as “indecent”, splurge of a shopping spree you just took will trends five years before their time are seen probably all end up looking hideous ten years as “shameless”, current fashion is seen as from now. But, eventually, they will end up in a “smart”, trends one year after their time are box of old stuff tucked away in the corner of seen as “dowdy”, and trends ten years after a dusty storage room, or they will be donated. their time are “hideous.” Trends don’t start to Nevertheless, these items will either end up on come back into acceptance until 50 years af- your children, who dug them out of their proter their time, when they are seen as “quaint, verbial grave, or on someone else’s children, charming, romantic, and beautiful.” In his who salvaged them from a vintage thrift shop memoir Minding the Store, Stanley Marcus, and they will be described as quaint, charming, former president of Neiman Marcus, recalls romantic and, even, beautiful. ◊

THE BOOK BY STYLECIRCLE NINETEEN

Models: Too Big or Too Thin?

By Sarah Said Illustrations by Natalie Mizzen

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ILLUSTRATIONS BY NATALIE MIZZEN; WORDS BY SARAH SAID

WE CAN ALL AGREE that over the past few decades some of the most talked about and controversial fashion related topics have been surrounding models’ extreme size and weight. Super thin models have been said to have a negative impact on this generation’s self-esteem by promoting unattainable body standards, which can promote eating disorders such as anorexia and bulimia.

The phrase “she needs to eat a burger or something!” has been thrown around a countless number of times over the years, however, there hasn’t been enough serious action taken against this issue until today. Countries such as Italy, Spain and Israel have previously made an effort to make a positive change by banning girls who have a Body Mass Index (BMI) under 18 from working.

Unfortunately, it seems as though those laws weren’t sufficient enough to make a substantial impact within the industry. In December of 2015, France passed a bill banning extremely thin models from runway shows, and took a more severe approach to the consequences: anyone who breaks this law could receive jail time and a six-figure fine. This new French law also requires models to provide a doctor’s note before a job to prove they have a healthy BMI. The bill has sparked a lot of conversation surrounding body image and health across the Internet, but can it really make a longterm positive difference within the fashion industry? Eden Debebe is a 20-year-old size-two model who has been working in the fashion industry for years. She shared her point of view: “Models everywhere, rejoice! The move has been a long time coming. Europe is notorious for pushing their models to the brink, and this law would make it a safer place to work. On the other had, some girls are just naturally thin, simple as that. I know plenty who >>

THE BOOK BY STYLECIRCLE TWENTY - ONE

naturally have a BMI of less than 18, and forcing them to hit that mark might prove impossible/unhealthy for them. The law definitely needs to accommodate for cases like that. Though I’m sure there’ll be some hiccups along the way, it’s a great first step.” This law has also encouraged others to take a stand against the promotion of unhealthy and unrealistic body images. Rose & Willard is a British fashion brand that has recently introduced an unconventional approach. Their contracts have a 'nonnegotiable' clause that obligates models to not only eat on set, but to also have to be supervised while they eat to ensure they consume enough food. The founder of Rose & Willard, Heidy Rehman, wrote an article for the Huffington Post in January of 2016 to report her company’s decision to make models contractually required to consume their food in the company’s presence in order to get paid. Rehman explains, “Yes, it’s a form of nannying but we feel we have a responsibility to protect these young women from an industry which we believe can leave them exploited and puts them under pressure to starve themselves and damage their health and wellbeing.” Is this brand taking it too far? Debebe gives her insight: “Extreme is an understatement. I’m all for healthy models, but forcing girls deemed ‘too thin’ to eat can be just as unhealthy as forcing them not too if they’re deemed ‘too big.’ Staying fit is part of our job description, and I think everyone knows that. What they don’t seem to grasp is the line between fit and unhealthily thin. Agencies aren’t looking to push their models into the danger zone. Their job is to help, and promoting a healthy lifestyle filled with good food and exercise is just that. Like I mentioned before, I feel like this idea of ‘being pressured’ stems from the naivety of those outside of the fashion industry looking in. Being ‘pressured to lose weight’ has never happened to me, and that has a lot to do with having great agents and working with reputable clients. Especially in a Toronto market, where the majority of fashion-related work is commercial, they aren’t looking for ridiculously thin girls.” Body shaming in the fashion industry is not just towards thin models; fuller models are also targeted. Recently, Gigi Hadid, world famous supermodel, posted a photo on her Instagram stating that she has had enough of people making unnecessary body shaming comments towards her. ! “I represent a body image that wasn’t accepted in high-fashion before, and I’m very lucky to be supported by the designers, stylists and editors that I am: ones that know this is

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ILLUSTRATIONS BY NATALIE MIZZEN; WORDS BY SARAH SAID

fashion, it’s art; it can never stay the same. It’s 2015. But if you’re not one of those people, don’t take your anger out on me.” This post went viral and Hadid received a lot of positive feedback and empowering comments.

Although it is great to see body diversity, is there a limit?

Tess Holliday, a social media famous plus-size model, has been personally targeted by Naomi Campbell who posted a status on her Facebook profile chastising the industry for promoting obesity and poor body-image: “Unhealthy is unhealthy. It doesn’t have a weight or size. It is only defined by its subject being unhealthy.

This woman is unhealthy. A person will do irreparable damage to their bodies trying to achieve and maintain this physique, the same as they would an underweight/small framed model.” Likewise, Tess Holliday has also been known to blast Victoria’s Secret for only representing one type of body image as “sexy.” There seems to be a clear motif among these body-image issues. Both of these ‘unhealthy’ body types are extreme opposites on the spectrum. While people are championing diversity by using models with fuller body types, the outcome has resulted in the promotion of another potentially unhealthy and dangerous body image. A balance is needed to help young women develop a positive sense of self-esteem and a realistic and healthy self-perception.

Millennial minds are over saturated with images of Western beauty standards, thanks to their use of social media and the onslaught of advertisements that target them. The only way to prevent the growth of eating disorders is to challenge the beauty standards that have become ideologies within our society and represent women with healthy body types of all different shapes and sizes. At times this seems like a hopeless goal, but

thankfully, 2016 has already shown signs of promise.

In February of 2016, Sports Illustrated featured three cover models in their famous Swimsuit Issue. Ashley Graham (a plus size model), Hailey Clauson (a former face of Gucci), and Ronda Rousey (former UFC Champion) were each chosen to represent a different body type on three separate covers. The change was revolutionary, to say the least. According to Graham, this shift in the representations of beauty standards doesn’t only affect women’s perspectives on body image: “It’s great to see all the men come out here. I have a lot of female fans, and it’s really nice to see that men are desirous of girls my size as well.” Another recent revelation regarding the embrace of body diversity in 2016, is Mattel’s introduction of their new doll collection, the Barbie Fashionista Dolls. The collection includes the options of four different body types (tall, curvy, petite and classic Barbie), seven different skin tones, twenty-two eye colours and twenty-four hairstyles. Its purpose is to encourage the celebration of diversity among children improve the way they view themselves.

It is clear that many more exciting changes in diversity and body image are ahead within the fashion industry.

We are surrounded by technology that provides us with instant information and connectivity, meaning that our responsibility as a society in regards to the self-esteem, positive ideologies, and open-minded perspectives of the younger generations is exceptionally important. As body positive campaigns, diversity spokespeople, and feminism gain prominence with younger generations, we can only hope that body positivity becomes the mentality of young men and women. Times are changing, and hopefully so are people’s minds. ◊

THE BOOK BY STYLECIRCLE TWO

THE UNIFORM

WORDS AND ILLUSTRATIONS BY MILLIE YATES I'LL BE THE FIRST to admit that for a fashion student, I take very few risks with my wardrobe. I would go as far as to say that I take no risks with my wardrobe. I’m happy to wear a black t-shirt, black eyeliner and black boots every day, and most days I do. The appeal of a uniform comes from four years of having to wear one in high school. While we loved to complain, the convenience of a singular ‘look’ could not be beat. I consider my all-black uniform residue from the days I rolled out of bed straight into my oxford shirt. However dull my current uniform may be, it in itself is not the problem. What I wish is to find the courage to wear the things that I never do: the white overalls, red eyeshadow and flared jeans that are burning a hole in both my wallet and my bottom drawer. I’m intrigued by trends but not enough to wear them in public. So, in a valiant effort to give my fast-fading black jeans a rest, I devised a plan. The rules? For four days I would wear something that I admire on others, but not myself. If anything unusual happened, I would write it down for posterity. Here is what happened.

DAY ONE: FLARED JEANS

A favorite of off-duty models, style bloggers and maybe your mother, flared jeans have made a comeback this year. I purchased my pair in 2013 for $7.99 at Urban Outfitters because they were incredibly comfortable and fit like a glove. No matter that flared jeans had absolutely no presence in fashion in 2013; I knew that one

day they would come in handy. That day turned out to be February 29th, 2016, a mere three years after their purchase. Never having been worn, they quickly turned my legs and hands black from dye. No matter, I thought to myself as I washed my hands for the 12th time that day. For the first time in a while, I felt fashionable. That being said, I received compliments from next to no one. Either I was striking a normcore chord and nobody noticed, or others were purposely avoiding me for fear of having their ankles swallowed by my bell bottoms.

DAY TWO: RED EYESHADOW

This trend proved trickier to execute than the jeans. I’d long admired the look on the runway, but how to pull it off in real life? I’d been genetically blessed with deep, dramatic dark circles and I had a feeling they would far from compliment the eyeshadow.

With an unsteady hand, I applied what I hoped would be a cat-eye shaped wing. Instead of looking like I had come straight out of a Givenchy show (as I’d hoped), I looked like I’d six hours of sleep sucked right out of me. Time for class. I swiped on another coat of concealer and headed out the door. Though I felt incredibly self conscious for most of the day, not a single person commented on the look. Perhaps not enough eyeshadow had been applied? During my break I pressed on another layer. This time, I got my first reaction. “Something is different about you today,” a friend commented in class. I resisted the urge to explain.

DAY THREE: RED LIPSTICK

When I decided to try this trend, I could almost hear my fashion classmates rolling their eyes. Red lipstick is not groundbreaking stuff. It is as classic as a Breton sweater, a Chanel jacket, or a string of pearls. I don’t need to be reminded. What drew me to the hue was not the look itself, but the confidence required to pull it off.

I’d worn the colour before, but spent the day fidgeting with my lipliner, constantly checking my teeth and drinking through a straw. This time, I’d approach red with an unselfconscious attitude and wear it for a full day without once wiping it off. The result? Red lips get a lot of attention--something I’d forgotten. Though it came mostly in the form of compliments, I received a lot of stares. During a free moment, I read up on the origins of red lipstick. It was first around 3000 BC that women crushed up dead ants with beeswax to colour their lips. The colour itself is linked with a few different psychological processes; it is known as a signifier of passion, it’s effect dating back to our primitive roots as chimpanzees. No wonder we gravitate towards it! Although the colour did bleed, and a subtle red halo remained around the perimeter of my lips for a good 24 hours post- removal, this was a look I enjoyed.

ILLUSTRATIONS AND WORDS BY MILLIE YATES

DAY FOUR: HEELS IN PUBLIC

I’ve stood at an impressionable 5’11’’ for the last four years of my life. In my early adolescence, I spent a great deal of time trying to detract from my height.

I slouched in photos and constantly stood in contrapposto, balancing my weight so that I looked like a titled Greek statue while standing. The effort was in vain. It was undeniable that I was tall, and there was very little that could be done about it. Around the time I turned 18, I decided to stop caring quite so much. I stood taller, wore cropped pants and purchased my first

pair of slightly-heeled ankle boots. I stopped allowing comments about my height get to me, particularly from men. It was liberating to let go. Though I’d like to say I’ve made even further progress since then, I still had one significant barrier to cross: the high heel. I have long-admired the style and it is one of the most enduring looks in fashion. I own a number of pairs but keep them tucked away for special occasions: proms, fashion events and weddings. A five inch pair of heels puts me nearly at eye level with Usain Bolt, to put things into perspective.

So, on my way to school one morning, I put on a pair of pointy-toed heels and marched to class. Two minutes

into my walk I was already regretting my choice. How do women do it? I thought to myself. Never mind the looks I was getting. All I could focus on was the squishing of my baby toe against the rigid leather. Ouch. An hour later, they were off. This was one look not worth its hype. Postexperiment I felt nothing but relief.

Experimentation may be easy for some, but for me, trying trends just for the sake of it feels unnatural. As it turns out, some looks only work in the Pinterest photo. For now, I’ll be doing the fashion trailblazing in my design sketchbook. It will be up to the next Man Repeller to take on those looks. Tomorrow, it’s back to black. ◊

On Halle (left) Top Zara, Pants American Apparel On Kai (right) Top H&M, Pants Zara

IDENTITIES TRANSFORMED PHOTOS & STYLING BY EMMI OJANSIVU, ART DIRECTION BY HANNAH DOBBIE, WORDS BY ALEXANDRIA REGIS, MODELS KAI & HALLE Major fashion labels have been challenging the industry by deconstructing ideas of masculinity and femininity and engaging in gender ambiguity. Not only is this changing the way we think about fashion; it is also encouraging us to explore our own identities.

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THE BOOK BY STYLECIRCLE TWENTY - SEVEN

On Kai Jumpsuit Zara, Turtleneck Vero Moda.

On Halle Top American Apparel, Mesh vintage, Pants Zara

On Kai Jacket Y3, Top Zara, Denim shirt Levi’s, Pants Zara, Shoes Raf Simons.

On Halle Jacket Monki, Sweater H&M, Shirt American Apparel, Pants Zara, Shoes Nike

Gender roles are so firmly engrained in us that we obliviously distinguish between what makes a person male and female based solely on their physical characteristics.

THE BOOK BY STYLECIRCLE TWENTY - NINE

On Kai Top H&M, Pants Zara On Halle Sweater H&M, Pants Zara

Who is changing the everyday perspective? It’s true that today we see men curating more daring looks, but skirted men are still few and far between. Countless fashion sites and magazines encourage ladies to wear out their boyfriend’s jacket or shirt. What reason do we have not encourage the same for men? The truth is that men in feminine clothing are generally still looked upon with either fascination or repulsion, while women who embrace a more masculine look are seen to be fashionable and are often praised for fighting against the norm.

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On Kai Top H&M, Pants Zara, Shoes Y-3 On Halle Hoodie Pale Black, Pants Oak and Fort Shoes Nike

FAT P O AN ESSAY BY JESSICA HUYNH FAS H I O N AND T HE P LUS SIZE MARK E T

THE WORD 'FAT' has become more or less a derogatory insult. Author J.K. Rowling discussed how the body is unrightfully and closely tied to a woman’s self-image when she remarked, “Fat is usually the first insult a girl throws at another girl when she wants to hurt her. I mean, is fat really the worst thing a human being can be? Is fat worse than vindictive, jealous, shallow, vain, boring, or cruel? Not to me; but then, you might retort, what do I know about the pressure to be skinny? I’m not in the business of being judged on my looks.” This quote is indicative of our society’s perception towards fat people.

‘Fat Politics’ is an ongoing discussion concerning the history, ideas, and attributions we have about bigger individuals, which, unsurprisingly, have further effects on related and seemingly unrelated industries. In 2010, 68.8% of American adults over the age of 20 were found by the National Health and Nutrition Examination Survey to be either overweight or obese. It comes with no surprise that obesity bias is more prevalent than ever, what with the contrasting images we are bombarded with every day in popular media and online. In the article “Obesity Bias and Body Image: How do Fashion and Retail Students Compare to Other Personal Service Majors?,” author Nancy Rudd points out that “the endorsement of thin bodies within the fashion media and popular forms of entertainment in conjunction with

social media has led to biases formed towards individuals that do not fall within this narrow frame of “perfection” (31). The fashion industry has indicated indifference to accommodating this expanding market. Ideologies of how clothes should fit, who should where them, when they should be worn, and even why they are worn are all analyzed by fashion designers, brands, and consumers. Fashion has become another tool to exemplify power, status, prestige, and cultural norms. As noted in the article “College Students’ Attitudes Towards Obesity: Fashion, Style and Garment Selection” obesity studies, specifically in relation to the fashion field, are lacking presence (RutherfordBlack, 133). In an attempt to bridge these two areas, a thorough exploration of the current conditions in the fashion industry will be examined in this article. Social shaping and psychological beliefs towards plus size individuals will be observed to reveal why the fashion industry is reluctant to cater to this market.

Lastly, the economics of responding to the obesity epidemic will be discussed, along with an overall prediction of fat politics in retrospect to the billion dollar industry.

CURRENT FASHION MARKET The notion that plus size individuals are less trendy and less concerned with fashion as an explanation for the lack of plus

LIT I CS size clothing available on the market is similar to arguing which came first: the Chicken or the Egg? Marshall Cohen, chief industry analyst for the NPD Group, notes that “plus-size has been a challenge for the industry for decade” due to a negligence to making stylish clothes for this demographic. Over time, Emili Visiland, author of “Fashion’s Invisible Women” explains that “because plus-size women have been ignored for years, they’ve stopped actively looking for shopping opportunities [so when] retailers bring savvy style to the plus-size game, they often shutter their efforts before they have a chance to bloom.” The Chicken or the Egg complex exemplifies that companies are hesitant to target a market they have tagged as unmarketable, deeming them unfashionable when the companies, in part, are responsible for neglecting and expecting instant profitability.

Fashion’s value is subjective; it thrives off induced obsolescence and anchoring. The “snob-effect” in fashion exposes a “unique feature of the market demand curve for a fashion good; that is, it varies inversely with the contemporaneous stock of the good” (Coelho & McClure, 601). In other words, value is formed from expectation. The more distinct and unattainable the fashion garment is, the more prestigious and exclusive it will be. Unsurprisingly, the fashion industry has been a “main disseminator of the thin body ideal” (Rudd) because it itself is a distinct and unattainable goal for most people. Rutherford Black found that “the average weight of a model is 23% lower than that of an average woman, whereas 20 years ago, the differential was only 8%. The average American fashion model is 5’11 tall and weighs 117 pounds while the average American woman is 5’4 tall and weighs about 163 pounds. The gap between ideality and reality is a constant reminder that in a patriarchal capitalist order, women’s bodies are defined as inadequate” (23). “Snob-effect” obtains its prestige through a social understanding of what is desirable; it plays off our psychological fear and reward system.

SOCIAL GROOMING Moorti & Ross’s article, “Commentary and Criticism: Is Fat Still a Feminist Issue?” critiques media’s obsession with thinness and diets. This, they argue, reinforces “patriarchal definitions

of femininity.” The more dissatisfied we are, the more we work and consume to reach this unattainable standard of beauty. ‘Fat’ is a feminist issue at the core of body politics, manifesting itself to strengthen what is deemed valuable in a woman – her beauty and thinness (87). The fear of being, or becoming, overweight goes hand in hand with ideologies of what it means to be and look like a woman. Fashion takes this into consideration in its brand identity to ensure it is prestigious and caters to an aesthetically appealing group, which often features upper class white civilians. Outward displays of wealth and health signify positive sexual desirability in partners. Health complications arise as weight increases, which may be off putting for reproductive purposes. Sociological explanations like these, in part, may explain a primal distaste for overweight and obese individuals.

Rutherford-Black determined that obese women who behaved no differently than nonobese women were more likely to score lower based off other people’s impression in retrospect to her likeability, social skills, and physical attractiveness (133). As a result, the failure to cater to an obese market may lie in sociobiological roots. According to Rudd, the message of thin being good and fat being bad is so prevalent that negative biases toward obese people has become a normalized prejudice, and obese women especially are getting the short end of the stick (32). Catering to a larger demographic can be seen as reinforcing unhealthy lifestyles, which supports the obesity bias. As so, the fashion industry may fear social repercussion from current consumers if it expands its market. By excluding plus size individuals, an ‘us-versus-them’ mentality validates the snob effect. However, when an estimated 70% of female Americans are a size 14 or higher, is it fair that only 30% of females are viewed as ‘desirable?’ (Lee & Romeo, 146) PSYCHOLOGICAL BELIEFS In addition to a sociobiological analysis, psychological factors that affect obese individuals are also at play. Across the charts, women tend to have low satisfaction with their bodies and idealize a thinner version of themselves, and women working in the fashion industry have poorer self-body image than any other field (Rutherford-Black, 136). In a study examining 304 college >>

THE BOOK BY STYLECIRCLE THIRTY - THREE

students, 88.5% of people admitted that they would approach normative instructing (dress forms designed for specific body an obese person last for fashion advice, with 93% admitting types) and creative freedom when designing for a thin figure are that they would assume that a thin individual would be more additional factors that highlight the preference of catering to thin likely to follow fashion than an average or overweight individual and average figured women over overweight and obese women (Rutherford-Black, 136). Psychologically, people attach more (33). Designing well fitted plus-size garments is tricky. As more negative thoughts to obese people in relation to fashion. Obese weight is put on, the one-size-fits-all encompassing label, that individuals are viewed as being “less intelligent, successful, brands like Brandy Melville push, becomes increasingly difficult valuable, beautiful, and sexually attractive--traits important in to cater to. Proportions become distorted and vary greatly the promotion of the fashion business” (137). Expanding on from person to person, with bodies “especially over size 18 this, Rudd mentions a recent study that [having] generally more girth in the middle used magnetic resonance imaging evidence the ratio between hip and waist changes, “The current –[making] to show that when viewing an image of an the developmental phase of plusoverweight woman, the prefrontal cortex size collections costly” (Visiland). As Lee & ideology is that in the brain is activated. This suggests Romeo point out, the lack of substantial data a strong and on the proportions of obese individuals implicit anxiety towards fat people (32).

There is a psychological understanding manufacturers from entering the confined brand deters that thinness and attractiveness are tied to market, as they would have to take on the image will responsibility of researching and testing success, happiness, and other positive attributes (33). In a study by Lee & Romeo, does and does not work for larger keep current what “a garment’s functionality, expressive abilconsumers (146). While the overhead cost ity, and aesthetic appeal” is crucial to ones consumers may be high, the growing market is one need to feel accepted and respected by that cannot be ignored. Today, women size coming back, 16+ contribute to more than $17 billion peers, noting that plus size individuals must surrender the latter criteria to meet while opening spent annually on fashion items, deeming functionality (146). If, as a society, we are it the fastest growing apparel segment doors for heavier concerned about an obesity epidemic, we today (Library Index). The ability to should look to elevate individuals’ selfto a plus-size market is feasible, but individuals will cater worth and inspire them to take action fashion thrives off brand identity first and and get healthy, rather than encourage a deter the current foremost. The current ideology is that a loop of negative feedback to satisfy our strong and confined brand image will keep consumers from current consumers coming back, while psychological perceptions. associating with opening doors for heavier individuals ECONOMIC ANALYSIS will deter the current consumers from the brand.”

In the 1950s, iconic starlet Marilyn Monroe associating with the brand. Catering to a was noted as being a size 12. However, heavier demographic may diminish the Jane Brody, a health writer, explained that the “apparel industry “snob effect.” The fashion industry relies heavily on pushing has accommodated expanding Americans by increasing sizes, strong brand image and perception to their target audience, such as a women’s size 4 would have previously been a size 8” which in turn, raises company revenues.

(Library Index). In today’s standards, Marilyn would have been closer to a size 6-8. In part, this shifting definition for sizes PROSPECTIVE SOLUTION would undoubtedly make some designers wary of catering to Thus, the course of action on how to best tackle this problem larger individuals as manufacturers have already seen an increase is not black or white. On one side, there are those who feel that in time and cost of fabric for the same retail price. Rudd found fundamentally, obesity is a personal problem. Caplan, chairman that students were not inherently biased towards obesity (and of the ethics department at the University Of Pennsylvania’s actually had lower obesity biases in comparison to other fields School Of Medicine, pointed out that, “the more we adjust such as health), but rather viewed them through an economic our world to accept our [fatter population], the harder it is to lens as being “financially unviable” (33). A combination of motivate [groups] to do healthier things and lose the weight. If THIRTY - FOUR WWW.STYLECIRCLE.ORG

we tacitly readjust our world, in some sense we are responding to reality. At the same time, there is no doubt that making those adjustments makes it easier to live bigger” (Library Index). The CEO of Lululemon commented that thigh tear in their fitness wear could only be caused by by individuals who had a body type that was deemed inappropriate, implying the large thighs of overweight individuals were not suitable for their clothing (Rudd, 31).Similarly, in a March issue of Harpar’s Bazaar, Karl Lagerfeld expressed disapproval that his 2004 time capsule collection in H&M included larger sizes. He voiced, “What I designed was fashion for slender and slim people. The body has to be impeccable . . . if it’s not, buy small sizes and less food” (Visiland). On the other hand, body positive organizations, such as Any-Body. Org, are rallying against fashion’s narrow standard of beauty. Rallies during fashion week featured signs reading, “We want body diversity ‘in’ fashion” and “Free Women from body hatred: Strut body variety on the catwalk” (Rutherford-Black, 121). In an effort to seek change, we have to bring to light hegemonic beliefs, such as the idea that fat is a negative characteristic that can be controlled at the individual level, and that the worth of a female is rooted to her size and shape (Rudd, 32). How, as a society, can we move past these ideologies? Education is the key to reversing prejudice notions.

Fashion students can be taught to think beyond the norm and be rewarded for their ability to creatively produce garments that cater to small and large sizes (Rutherford-Black, 138). Cognitive intervention experience is another method that may reduce obesity bias, which, in turn, may lead to companies to be more willing to cater to the plus size market (Rudd, 26). Some steps in the right direction include showcasing more body diversity in media, research and development of products for all sizes, and giving plus size individuals a larger voice in society to remind

people that plus size people are deserving of fashionable and comfortable garments that meet their aesthetic desires.

CONCLUSION The fashion industry has a powerful voice in determining the status quo in society. Ideologies of what a woman should look like, and how she presents herself, are disseminated through mass media. The type of clothes considered “in style,” the figure of the individuals flaunting the pieces, and even the kind of woman wearing the garment are dictated by the cut throat industry. With this influential power, there comes a responsibility for the fashion industry to be conscious of what messages they send out. Similarly, as a consumer, it is crucial that we are critical of how these messages shapes our understanding of social norms. Obesity bias stems from basing someone’s overall character on one aspect: their weight. This leads to the belief that obese women are less deserving of fashionable garments.

Social shaping and psychological beliefs have a big influence on the way humans view other humans who are plus sized.

This, in conjunction with the unique system in which fashion operates (a “snob-effect” mindset), leads to many fashion companies preferring to ignore this growing demographic rather than address the issue. While economic indicators reveal high overhead costs, the predicted long term revenues are worthwhile and lucrative opportunities for companies. With education and awareness, a more positive perception towards plus size individuals will allow for dialogue within fashion.

Consequently, a more inclusive frame of mind on a global scale will create pressure for designers and brands to cater to a wider range of consumers. Everyone, regardless of size, is deserving of equal treatment, which includes the availability of garments that fit both their aesthetic and comfort needs. ◊

CITED WORKS Coelho, Philip R.P., and McClure, James E. “Toward an Economic Theory of Fashion.” Economic inquiry 31.4 (1993): 595-608. Web. 08 January 2016.

Lee, Young-A & Romeo, Laurel D. “Exploring Current Ready-to-Wear Apparel Attributes for Plus Size Female Teens” Family and Consumer Sciences Research Journal 43.2 (2014): 145-159. Web. 08 January 2016.

Library Index. “The Economics of Overweight and Obesity - Catering To An Expanding Market.” Net Industries and its Licensors, 2015. Web. 12 January 2016.

Moorti, Sujata & Ross, Karen. “Commentary and Criticism: Is Fat Still a Feminist Issue?” Feminist Media Studies 5.1 (2005): 83-104. Web. 07 January 2016.

Rudd, Nancy A., et al. “Obesity Bias and Body Image: How do Fashion and Retail Students Compare to Other Personal Service Majors?” International Journal of Fashion Design, Technology and Education 8.1 (2015): 30-8. Web. 09 January 2016.

Rutherford-Black PhD, Catherine, Jeanne Heitmeyer PhD, and Mallory Boylan PhD. “College Students’ Attitudes Towards Obesity: Fashion, Style and Garment Selection.” Journal of Fashion Marketing and Management: An International Journal 4.2 (2000): 132-9. Web. 08 January 2016.

Vesilind, Emili. “Fashion’s invisible woman.” Los Angeles Times, 01 March 2009. Web. 12 January 2016.

THE BOOK BY STYLECIRCLE THIRTY- FIVE

IDENTIFY IN V E ST IGAT IN G P E RS O NAL IDE NTITY AND STY LE :

WH AT D O YOU ID EN TIFY AS ?

Words by Clara Purdy Photos by Clara Purdy and Serena Mola, Edits by Nadia Ebrahim

A Sudanese-Canadian girl who can identify as being Canadian, but can also identify as strongly embracing her background and history. A big one for me, and for a lot of people like me, is probably hair. It’s weird because it's just a physical feature but it has really sculpted the way I’ve grown up. I’m a shy, quieter type of person, but with my hair being so big when I was younger, it attracted a lot of attention. Because it was just big and in your face, I wouldn’t leave my hair out. The only time it was out was when it was straightened, because then it was ok, I looked like everyone else. As I started to get older it became a huge part of my style and how I portray myself. Instead of it being a negative thing that attracted attention, I started looking at it as something that set me apart from other people. So hair played a big part in my identity as a person, and also just embracing more of who I am rather that trying to diminish it. ~Nabra Badr

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IT’ S S O C OMPL E X WH E N YO U THINK AB O UT I T. ~Jer Alpuerto

My identity? That’s a really hard question.. I guess I would identify myself as Canadian – Filipino. My parents grew up in Canada so we don’t really have those Filipino traditions still in our family, unless it’s with my cousins. I’m a very outdoorsy person, I love going on adventures. It’s funny, I live in Toronto but I want to be up in Muskoka; I’d much rather be up there.

I’m in nursing, and I feel like that’s a big part of my life. My life pretty much revolves around the hospital. Four times a week I'm in scrubs, but even when I’m not, my style is simple.

I like neutrals and simplicity; even the things around my house are simple. I don’t want people to be intimidated by me.

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IT IS A R EP R E SENTAT I ON OF WHO YOU ARE. I T ’S YOUR ART. ~Darlene Anderson

I am a very multicultural person. Aside from my background, which is American, Pilipino, and Brazilian, I have traveled a lot. I grew up traveling, and because of that I love museums because they are the only common things that you find everywhere – they always brings me back to history and culture, and I love how colourful and significant they are. Fashion is my life because it is what I do as a fashion blogger. I’m in love with it; I love dressing up, I love seeing how people dress.

Without even knowing the person you can know a little about them by looking at their style.

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I T ’S H OW I SHOW PEOPL E WHO I AM WITHOU T SPEAK IN G. ~Prescylla Veronique I identify as black, female, empowered, confident. I really like to write, read and shop. Those three things are the things I feel I do the best, and they just make me happy. Fashion is the way that I express myself. I am a very vocal person, I talk a lot, but I feel like sometimes it’s good to show people who you are without saying anything. I feel like if you have the ability to do that then you’re set, because that’s an amazing skill. Fashion is in my everyday life, I work in retail; I’m a blogger, so I style for that, and everyday is a fashion show for me. I need to have a new and improved outfit. There is no day off.

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I LI KE WHE R E T HE IN D U STRY IS GOIN G WI T H NON- G ENDER SPEC IF IC C L OTHING. ~Macleen Mascarenhas

Like background? Indian. I’m an artist, mostly sketching, trying to get into tattoo design. I am female. My expression, I’d say, part of it is mainstream but some of it is urban.

I really like the look of a faux fur vest, ripped jeans and skate shoes. Specifically I like the sporty street style look with the baseball hat and ripped jeans.

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WHO ARE YOU? Most actually meant to inquire about my ethnicity or the nationality of my ancestors. I believe these implied questions are limiting because one’s identity can be rooted to where they are from, but can also go far beyond a place or their lineage.

Identity is a complex and personal topic that most people do not give much thought to.

WHEN ASKED THE OPENING Q U E ST I O N, WH AT D O YO U ID EN TIF Y AS? MIGU EL WAS HESITANT: "I D ON ’ T REA L LY BEL IEVE IN ID EN TIF YING AS AN YTHIN G, BECAU SE T H AT WAY YOU CAN ELIMINATE ST E R E OTYP E S. " ~Miguel Simon

THE BOOK BY STYLECIRCLE TWO

INTRINSIC

PHOTOGRAPHY & STYLING BY NADIA EBRAHIM, MODELS IMAN MUNIER & ZAHRA HANEEF The discussion of gender, sexuality, race, ethnicity and physical ability are amongst the most common of topics discussed in regards to representation in fashion. However, the representation of veiled women is virtually non-existent in the mainstream fashion culture. The purpose of this creative, fashion centred piece is to broaden the conversation of diversity by including Muslim women in the discussion and showing that diversity is not selective.

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M ASS

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WITH WORKS BY WANZE SO NG AND EVA PARRELL

PHOTOS AND CLOTHING BY WANZE SONG; WORDS BY ALICIA CHURILLA

S EXO D U S HISTORY AND EXPERIENCE

BY ALICIA CHURIL LA

I remember the day so vividly. It was the first day of March. After hours of tranquility watching the French countryside blur by, I had finally arrived back in Paris. Towing my suitcase through the train, I heard my phone buzz with a new email: it was a letter in my Ryerson account. With a deep breath I stepped off the train and read the information before me. My host had arrived to pick me up from Gare du Nord and questioned my beaming smile. I simply replied, “I got in.” While my story of acceptance to Ryerson School of Fashion has an air of the exotic, I assure you it resembles many others. With the acceptance rate at a mere 15 percent, few actually receive that email. Outside the creative industries, the notion of studying fashion receives a presumptuous glance. Those who understand the difficult skill-set needed to succeed are aware of the prestige associated with Ryerson’s Fashion program. In fact, The Business of Fashion named Ryerson #12 on their rankings of the fashion schools around the globe. A big part of this recognition has been brewing since the early beginnings of what is now the Ryerson School of Fashion. >>

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WAN-

ZE S ONG Designs by Wanze Song, 4th year design student.

PHOTOS AND CLOTHING BY WANZE SONG; WORDS BY ALICIA CHURILLA

Ryerson opened in 1948 as a trade school to teach men skilled labour after the war. In 1950 Ryerson introducing a two-year costume design program, which brought the first graduating class of the Ryerson School of Fashion in 1952. Since those original 14 graduates, the fashion program has grown along with Ryerson - from the transition to a polytechnic institute in 1968, and then to a university in 1993. Through the evolution, Ryerson offered a three-year diploma, a Bachelor of Applied Arts, and now a Bachelor of Design - all in the name of fashion. After originally offering only costume design, Ryerson recognized that there were more aspects to the fashion industry than just apparel design. The program took on four lanes: design, production, merchandising, and retail. In 2000 the program received a revival, offering fashion communication and design. Ryerson University was the first to offer an undergraduate degree in fashion in Canada. It is important to note that through this transition the original intentions of the program still resonate today. Rooted in the foundations of a polytechnic, Ryerson has always understood the importance of both theory and practical learning. In the fashion program, there is still an emphasis on analog skills throughout first year so that students can understand the fundamentals. Just like in the 60s, the Ryerson students of today learn to create patterns by hand and illustrate from a live model. Another example of the deep historic roots of this program is the first fashion show at Ryerson in the 50s. Home Economic students styled and created the garments to present to a small audience of about 100 people. The year-end fashion show was introduced in 1968 to exhibit the garments of the graduating class, and became student run in 1986. Through this 35-year period of growth, students and teachers alike were surprised by its allure to sponsors and guests. This event still takes place every year and is known as the world’s largest student run fashion show – Mass Exodus.

In 1988 the show was officially given its title, but each year it has a different theme. According to the Ryerson School of Fashion chair Robert Ott, “the mission and primary goal of Mass Exodus since its introduction… is to provide insight into the creative minds of its students through the lens of fashion, music, and overall production.” The show has undergone multiple phases of development, moving to different venues throughout the years. Early on the show took place at The Common’s, in Jorgensen Hall. Later, the show became a collaboration with the theatre students, showcasing innovation through moving sets and choreographed scenes at the Ryerson Theatre. In 2013 Mass Exodus moved to the Mattamy Athletic Centre, being the largest space to ever host the show. Another important component of the show is the display of the students' thesis projects. For the design students, this project is their Capstone Collection. The collection is important before delving into the industry because it allows designers to think about more than just the creative process. For example, student Eva Parrell’s capstone collection POA allowed her to understand that “producing a collection involves more than designing a beautiful piece of clothing; it includes sourcing, production costs, timelines, marketing and more.” In 2010, the fourth year communications students became a part of the Mass Exodus show. Their projects range from marketing plans, beauty exploration, and essays, to apps, advertisements, and documentaries. The possibilities are truly endless. There have been many thesis projects whose success has extended beyond Ryerson. Some successful examples include Dare Magazine and Sophomore Magazine. While Mass Exodus may be known for its grandeur in the past, this year brings about a new phase of evolution for the show. Mass Exodus 2016 will be held in the new Student Learning Centre, on the beach floor, providing a more intimate experience for the 300 audience members. It is reminiscent of a Dior runway show at Paris Fashion Week. The change of venue ties back to the humble beginnings of the show when the audiences were smaller. Only this time, tickets sold out in 30 minutes. The new venue reflects the intentions of Mass Exodus by providing a space where students can interact and engage with one another. >>

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Final collection designs by Eva Parrell, class of 2014.

Photographed by Jackson Parrell, modelled by Jaqueline Ashton, Zarina Ahmad and Zianne Small

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This theme of engagement is following the direction of fashion today. Mass Exodus has always followed what is in vogue through the industry in order to prepare those involved for what lies ahead. The age of technology has never been more important than now because fashion is no longer a self-contained industry.

The accessibility of Mass Exodus through social media and live streams keeps anyone who wants to be in the know updated. Mass Exodus has come to stand as a representation of the Ryerson School of Fashion. For industry professionals, Mass Exodus represents the future of the fashion industry. For younger individuals, Mass Exodus could also represent their own future. Seeing Mass Exodus for the first time is what drew me to the program. An old high-school classmate was the creative director and I couldn’t believe it. It was the first year the show was hosted in the Mattamy Athletic Centre. I couldn’t fathom how someone who had produced a small fashion show at my high school was now doing the same job on such a large scale. Even if I couldn’t admit it at the time, I wanted to go to Ryerson and be a part of something grand, innovative, and inspiring. Many others are drawn to the program for the same reasons I was. The themes of the program (heritage, diversity, and innovation) radiate from all aspects of the School of Fashion. The true purpose of the program is to get students to think critically and interpret fashion differently. The professors and teachers in the Ryerson School of Fashion are not only educators, but also motivators. Many of the educators went to the Ryerson School of Fashion themselves and have since worked successfully in the industry. They draw upon their experience to teach, yet can understand our perspective as fashion students. For students, the teachers provide a strong foundation for success later in life. Whether it is their dedication to helping struggling students succeed, their willingness to answer questions about the industry or give a push into the right direction – many educators become role models and (sometimes unknowingly) mentors. While the Canadian fashion industry is still growing, Toronto allows students to engage with the local industry and open their minds to new opportunities. Ryerson’s School of Fashion is recognized because it produces hardworking individuals with technical skills. An alumnus spoke to the Business of Fashion saying Ryerson, “does not teach students how to become a star, it teaches how to do the job right and be the best at it.” >>

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PHOTOS BY JACKSON PARRELL; CLOTHING BY EVA PARRELL; WORDS BY ALICIA CHURILLA

- V A PARRELL You, as a reader, may be about to graduate. You may be just starting post-secondary education. You may not even study fashion. But you may want to know what it's like at the end of our road, after the blood, sweat and tears. Truthfully, it is the ability to see and think as designers. This distinct perspective can be applied to whatever job we choose. With both practice and a desire to innovate, we can always look forward. There is a network of Ryerson alum in the industry happy to connect with freshly graduated students. Through our experience in collaboration, we learn to be respectful and trusting; we know how to communicate with optimism and keep an open mind. When I’m asked to explain what exactly it is that I study, I try to emphasize that fashion has no limits; fashion is not just what we wear. Stepping off that train in Paris as I read my acceptance letter, I had no understanding as to why I loved fashion – I just did. In this program I have learned and continue to learn that fashion is culture, history, communication, design, art, academics and innovation.

The Ryerson School of Fashion taught me this - just as it exuded these characteristics in its humble beginnings, and will into the future of fashion. ◊

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STUDENT WORKSPACES As fashion students, we spend much of our time in communal design labs, either on a Mac or behind a sewing machine. While this space is important to our education, it says very little about us as individuals. What of the homes and workspaces that our peers return to after the irons and monitors have been turned off? We interviewed four inspiring fashion students and took a peek into their personal spaces.

NICOLA PLACE WHAT ARE YOUR FAVORITE PARTS OF YOUR ROOM? “I like my record player and my cacti; I like having a wall of pictures of everything that I’ve done. I have a lot of stuff from my grandmother.

When she passed away I took her mirror, some of her bottles and incense holders. I love trinkets, my room is full of them.”

WHAT WORK DO YOU DO IN YOUR SPACE? “Any illustration work I get done on my desk. Sometimes I trace things on my window because the lighting is really good in here. As soon as the sun rises, I am awake.”

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Nicola is a third year fashion design student from Wolfville, Nova Scotia. As a National Ballet School intern and an aspiring dance costume designer, Nicola’s space lived up to our whimsical expectations.

Lindsay is a second year fashion communication student from Vancouver, British Colombia. Lindsay's passion and killer eye for branding radiated off her walls as we walked into her workspace.

LINDSAY CLARKE

PHOTOS BY BRONWYN MARSHALL; WORDS BY MILLIE YATES

WHERE ARE ALL OF THE DECORATIONS ON YOUR WALL FROM?

“Mostly my own artwork. I’ve started putting up things from other brands because I’m really into branding. I like having pictures up for inspiration.”

DO YOU CREATE YOUR ILLUSTRATIONS IN YOUR ROOM?

“I end up doing illustration on the kitchen table."

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FIONA TORRENS

HOW DO YOU LIKE LIVING AWAY FROM CAMPUS? “I like the location because it’s not directly downtown. I can see trees here which I really like. I don’t like looking directly at someone’s condo building. My walk is a nice time to start and end my day.”

WHAT DO YOU LIKE ABOUT YOUR SPACE? “My desk looks out a window. I don’t like looking at a wall while I work. Even if there isn’t much to look at, it’s still nice.”

HOW IS LIVING FURTHER AWAY FROM CAMPUS DIFFERENT THEN LIVING CLOSE TO IT ?

“I felt like I was only a student.”

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Fiona is a third year fashion communications student from London, Ontario. When we stop by her place early on Saturday morning, we are greeted with one of the most immaculate student spaces we have ever seen. Clean, polished and minimal, Fiona’s space perfectly compliments her personal style.

Lex Brown is a third year fashion design student from Hamilton, Ontario. Currently hard at work designing for her upcoming FAT show, we caught up with her (and her cat, Po) at her live-in studio.

LEX BROWN

PHOTOS BY BRONWYN MARSHALL; WORDS BY MILLIE YATES

TELL US ABOUT ABOUT THE ART ON YOUR WALLS? “These [three canvases] were my grade 12 culminating project.

This other canvas is new, and it’s unpainted. The frame is so large one piece of canvas wasn’t big enough to cover it so I wrapped multiple pieces around. It’s important to have a space that is creative to do creative work.”

IF YOU COULD CHANGE YOUR SPACE TO BETTER SUIT YOUR NEEDS, WHAT WOULD BE DIFFERENT? “I wish I had better lighting. Mine is terrible. I would also love a serger, but I would have to get rid of something to put it in.”

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THE MIND BEHIND THE MASTERY This shoot was inspired by the individuality of the artist. The concept was centered around the notion that our truest self comes through in our work.

The premise was simple: we asked five students from a variety of backgrounds to bring in a few of their favorite pieces. Photographed beside their work with very little direction, we let each student lead their shoot in the most natural, instinctual way possible. The result? A series of images that convey not only the beauty of these artworks, but also the spirit behind them.

Photos by Luke Severin, Art Direction by Alexandria Regis and Bronwyn Marshall, Words by Millie Yates

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DA THAO CHU Fashion Design - 3rd Year THE BOOK BY STYLECIRCLE TWO THE BOOK BY STYLECIRCLE

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SHARON WONG Fashion Design - 2nd Year THE BOOK BY STYLECIRCLE TWO TWO

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PHOTOS BY BRONWYN MARSHALL, ART DIRECTION BY LUKE SEVERIN AND MILLIE YATES, MODEL MONIQUE MONDESIR

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