The Chic Mag - The November Issue

TABLE OF C Letter from the Editor.....4 Masthead.....5

Tempe Fashion Week: Inspiring Designers Toward

The Mind Behind Water Vixen Luxury Swimwear...

Church Service Attire Meets Streetwear, Illuminated All About Fendsace: a Fendi x Versace Fashion

2016 Golf Wang Tyler the Creator Fashion Sho the rundown on Savage X Fenty Vol. 3.....26-27

Emma Chamberlain’s Influence on Fashion.....28

The Fight Between Cultural Appropriation and

Wearable Art or Stock Made of Leather and Fa

ASU Fashion Program Advances to Downt 2

CONTENTS

d Sustainability and Diversity.....6-9

...10-13

by Dontae Campbell.....14-17 Week Collab.....18-19

ow Recap.....20-25

8-31

d Appreciation in High Fashion...32-33

abric...34-35

town Phoenix Campus...36-41 3

LETTER FRoM THE EDITOr Hello, and welcome back to The Chic Mag. In this issue, The Chic Mag writers focus on disruptions in fashion.

The Chic Mag is going back to its roots and focusing on all things fashion for this issue.

Writers focused on covering pieces that discussed designers, influencers, and fashion shows that have caused revolutionary disruption in the fashion industry.

As you read through this issue, you will see stories regarding different fashion weeks and the impact those shows have had on the fashion industry to stories that showcase different influencers and designers who have shaped the fashion sphere.

With much anticipation and excitement, we introduce to you, the November issue of The Chic Mag. Enjoy.

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masthead LAUREN LIPPERT -- PRESIDENT AUTUMN SCHIEFERSTEIN -- VICE PRESIDENT MORGAN COLE -- CO-EDITOR IN CHIEF ASHLYN ROBINETTE -- CO-EDITOR IN CHIEF GRACE COPPERTHITE -- MANAGING EDITOR KENZEL WILLIAMS -- CO-SOCIAL MEDIA COORDINATOR ELLA HO CHING -- CO-SOCIAL MEDIA COORDINATOR CAMERON RUBNER -- MULTIMEDIA DIRECTOR GABRIELLA HERRAN -- CONTENT DIRECTOR MAJA PEIRCE -- CREATIVE DIRECTOR ALEXIA HILL -- GRAPHIC DESIGNER SYDNEY HUYGE-- GRAPHIC DESIGNER MICAH RIND --PHOTOGRAPHER DAVID ULLOA -- WRITER TORIA TOLLEY -- WRITER IAN TAYLOR -- WRITER ANNA MONTOYA -- WRITER AVA MIXON -- WRITER AUDREY SERRANO -- WRITER PHOTO BY MICAH RIND

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e r s i t Tempe Fashio n Inspir ing De si Towar d Sust a and D iversi t y empe F ashio n nspiri ng De s ig oward Susta in nd Div ers Tempe Fashion Week: Inspiring Designers Toward Sustainability and Diversity Story by: Toria Tolley

Tempe Fashion Week’s first ever runway show was held on Oct. 2. Designers gathered at Sun Devil Stadium to showcase their latest clothing lines.

The event had a clear emphasis on sustainable fashion. This was demonstrated by the many designers who chose to be more sustainable by focusing on custom pieces. Custom pieces contribute to a more sustainable environment because there is less mass production. This is because custom pieces are made with higher quality materials and can last for years, unlike fast fashion garments, which are cheaply mass produced and discarded frequently.

Sustainability has been in the spotlight for fashion

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trends worldwide. Sebastien Verstraet, founder of Tempe Fashion Week, said that there were three designers who had a focus on sustainability.

One of those designers, Lauren-Bacall Snowden, owns Sueño. A large part of the brand focuses on reusing scraps and unconventional items to create unique and custom pieces. Snowden said that she tries to use all of the fabric so that no yardage of material is wasted or thrown away. This plays a huge role in helping the environment because it keeps textiles out of landfills. “Sustainable fashion is not really referred to as glamorous, but it totally can be,” Snowden said.

Models showed off Sueño’s custom headpieces that were made out of atypical fashion items that otherwise

Designer Lauren-Bacall Snowden ge handmade headpieces Photo from: Lauren-Bacall Snowden

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This chart represents the production process of RYS Life.

Photo from: Mariah Chastaine

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would have gone to waste.

“The brand started from daydreaming,” Snowden said.

“Sueño in Spanish means to dream. My fashion is driven by dreams.”

Snowden’s inspiration came from daydreaming about outfits for her daughters.

These dreams were brought to life at Tempe Fashion Week.

Tempe is not the only fashion week to include sustainable brands. Other cities, including Miami, go to great lengths to promote environmentally friendly swimwear and clothing lines. Miami’s annual Swim Week was held this past August where environmentally friendly brands such as Ambra Maddalena, Seeker of Sunshine, RYS Life, Marysia, Beau Swim and Indigo Wild Clothing were featured.

Owner of RYS Life, Mariah Chastaine, attended Miami Swim Week for the first time this year. Her brand is located out of San Diego and began in 2020.

“All of our swimsuits are made from recycled materials,” Chastaine said. “We use trash that is pulled from the ocean, broken down into tiny particles, and repurposed into the beautiful soft fabric for our bikinis.”

Beau Swim was also featured in Miami Swim Week. Samantha Jones, founder of Beau Swim, goes the extra mile in working to educate others on the importance of sustainability.

“A portion of our proceeds from each sale are donated to the R.O.L.E Foundation which is a foundation that educates businesses and people on how to be more environmentally friendly at work and in their everyday lives,” Jones said.

“We believe that education is key to helping others join in becoming sustainable.”

Beau Swim allows customers to feel confident in their suits while saving the environment.

“I also walked down in one of my swimsuits at the end which was an absolute dream come true of mine,” Jones added.

Although summer just ended, the Arizona heat always calls for swimsuit season. As Tempe Fashion Week continues to grow in the future, hopefully more designers will be inspired by these brands and take a more sustainable route when creating their clothing lines.

All of these designers use their own techniques to do their part in saving the environment while making their dreams come true.

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The Mind Behind Water Vixen Luxury

Swimwear Story By: Ian Taylor Photos by: Jam Sani + Ryan Laurent

T

empe Fashion Week brought together an entire host of creative minds – from passionate designers, dedicated stylists and show-stealing models, to expert photographers, professional basketball players and multi-platinum music producers. Though the main event was the runway show dedicated to the numerous spellbinding designer collections, the true heart of the evening was the hundreds of hardworking artists who made it all happen.

Folks like Vincent Rodriguez, a hairstylist to whom I spoke to around 11:30 p.m., had been at Sun Devil Stadium since 8 a.m.

It’s that sort of passion and dedication that’s required from all involved to make an event like this run as smoothly as possible. Though he said the night “didn’t go off without a hitch,” I would have never guessed it due to the consistent quality of the entire evening. That quality was reflected in the breathtaking streetwear,

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custom luxury lines and couture collections that debuted that night. Not only was the evening filled with incredible looks from both the designers and the attendees, but the show also provided an opportunity for me to become more familiar with the ins and outs of the fashion industry as well as fashion trends.

One of my favorite collections was a style that I’d never even heard of prior to the show. It came in the form of Water Vixen Swim, a luxury swimwear line. Even before the models strutted down the runway showing off the collection, I had thought to myself what a brilliant idea it was to add such grandeur to an activity not typically associated with luxury. I expressed this to the designer, Jennifer Lowe, to whom I had the pleasure of interviewing when I spotted her at the after-party. I began by asking about her background.

Jennifer Lowe: So I was born in Arizona, and then I moved to Texas, and people in Texas just love the Texas flag. So naturally, that’s one of my things, ‘cause I was doing really well with the American flag theme, I love the American flag and camo prints. Everyone in my family has been in the service, every generation.

Even where I live, in Irvine, California, the marine air station, El Toro, my grandpa was stationed there in World War II, and I live, like, two blocks from there.

So patriotism is always in the forefront of my mind. I don’t know if you could tell, ‘cause I did a lot of animal prints but I have a lot of camo and a lot of U.S.A. prints too.

Ian Taylor (me): Yeah, I saw the camo. I thought it was wonderfully incorporated, like, when I was looking at it, I didn’t think to myself, “camo”...

Lowe: [simultaneously] Camo!

Taylor: I’m gonna be completely honest, usually I don’t like camo, but I loved the camo that you had. It was great.

Lowe: Thank you. And it looks like Rambo bullets, with the…

Taylor: Yeah, oh my gosh, I didn’t even notice that, I should’ve been looking closer.

for years. That one camo swimsuit with the spike buckles that look like bullets, I’ve wanted to do that since 2017. But every time I was putting my designs in the orders, they would get it just wrong, because they’re very long buckles, and I didn’t want it to be too revealing in the front. But the style five years ago was very low, but now it’s high, and naturally, now’s the time.

Lowe: So, back to flags. Because I did really well with American flag bikinis, I had this idea of doing state bikinis, and the Texas flag came into mind, because people love the Texas flag. So I did it, because I used to live there, and it really did great, so I said, “I’m gonna do all the state flags!”

So I looked at all the state flags, and most of the state flags are not very good, I found out.

Taylor: That’s too bad.

Lowe: A lot of them have tons of words, or even other states have them copyrighted. Like, New Mexico has theirs copyrighted for a tribe, so you can’t even replicate it.

Taylor: Interesting. OK. Lowe: So first, I thought, “I’ll do all the states,” and then I’m like, “What? They’re not even good.” But Arizona had a great flag.

Lowe: That one I’ve been working on

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Taylor: Yes, I agree.

Lowe: Because I knew Texas, and I’ve already lived in Arizona, and I’ve lived in Texas, and they both have great flags, I just assumed all the states had great flags.

Taylor: So you were spoiled, huh?

Lowe: Right? I was flagspoiled. So then I start to look at all the state flags, and I’m like, “I don’t wanna make anything for any of these flags, but I’m gonna go back to Arizona ‘cause it has a bomb flag.” Like, it’s so good.

Such a great flag. So that’s what I did.

Taylor: It looked so good. It was unmistakable, I mean, obviously unmistakable as the Arizona flag, but it wasn’t obnoxious, it was so well done. It was pitch-perfect.

Lowe: Thank you very much.

And I didn’t want it to be silly, but I wanted it to be like, “[gasps] That’s our flag.”

Taylor: You totally pulled that off. The accessories, too.

Lowe: Yeah, thank you. And then, I had the vest, I even asked my stylist, I go, “I feel like boots kind of works,” and she goes, “Well I don’t know if people wear boots with bikinis,” and I go “This is just a fantasy.”

Taylor: Exactly. It’s a fashion show, c’mon, go crazy.

Lowe: Think about cactus, and you’re in the desert... boots work, right? Boots work for Arizona. So we’re like, “Ok, we’re going with it,” and then we threw the little headpiece - because of, you know, the ‘70s vestTaylor: Yes, totally ‘70s.

Lowe: And then it all really came together. That vest is vintage, I’ve been waiting to use it.

Taylor: I love that, that’s great. So it was just kind of an amalgamation of things you’ve been waiting to do and you finally got the chance to do it?

Lowe: That’s a beautiful word.

Yeah, it was an amalgamation.

Taylor: Well, that’s so great that you were able to do that, and I’m really happy that I was able to witness that, that was phenomenal.

Lowe: Thank you so much.

Lowe’s work stood out in many ways, such as the fact that hers was the only swimwear line, as well as the location’s relevance due to her Arizona flag piece. Speaking to her was a wonderful cap to the evening, as well as a revealing glimpse into the mind of such a talented and creative designer. Lowe’s previous work is available at watervixenswim.com.

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Church Service Attire Illuminated by Dontae Dontae Campbell, founder of Laboratory, showcased his most recent collection at Tempe Fashion Week (TFW) on Saturday, Oct. 2.

Campbell started his fashion designing career about seven years ago when he was living in Indiana.

“In Indiana, there’s no real new fashion there, so I wanted to try something new, I wanted to be different,” Campbell said. “That’s when I found out I had something that a lot of people liked.”

During his first year working as a designer, Campbell took part in New York Fashion Week and was invited to Paris Fashion Week twice but was unable to go due to cancellation of the events.

Laboratory, Campbell’s brand, is described as, “testing and experimenting with fabrics” on its Instagram account (@laboratory. official), and it rings true whether one saw the TFW designs or simply scrolls through the designer’s Instagram feed.

With a white minimalist feed, the focus is completely on the creative direction of each photo – highlighting shoes, pants, shirts and shorts designed by Campbell.

Designing and finding the passion to

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create are both hard work, but being a creative is something that comes natural to some. Not everyone can just articulate how to incorporate lace, pearls, and different color ways onto pink Dickies.

“I feel like just the creativity [is a gift], learning how to use different things, looking at everyday objects and finding ways to reform that into whatever you’re trying to work with,” Campbell said. “My aspect would be clothes, so I take everyday things and I try to form that into a different inspiration for new designs and stuff like that.”

The latest collection by Campbell was finished the night before TFW’s premiere and this, along with however he’s feeling in the moment, impacted the design decisions.

“Usually when I get no sleep, I use a lot of reds, so there are a lot more reds in this collection and I used a lot more abstract items,” Campbell said.

“I can definitely tell when my feelers are a little bit off because I start doing asymmetrical things.”

“From Church Service To The Streets” was the theme of Campbell’s experimental collection for TFW. During the set, models walked the runway to songs like “Jail” by Kanye West, “Almeda” by Solange, and different piano melodies, which helped

e Meets Streetwear, e Campbell

Story by: Alexia Hill Photo by: David Ulloa Jr.

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capture this theme.

“This is the newest twist on my collection...It’s kind of a formal wear, but still streetwear because I actually do specialize in streetwear clothing,” Campbell said. “I wanted to do a little twist with formal attire so I can grab the [attention of the] audience, but also the audience that I already have.”

Model Fabio Capri works for Corella & Co. Model Development and has worked with Campbell on multiple projects, including walking for Campbell’s collection at TFW. “As a person I would describe him as a very ambitious and passionate person, I think he attacks his work just as strongly as he attacks life,” Capri said. “As a creative he’s groundbreakingly innovative. The stories behind his work and his symbolism behind it, as well as creativity and uniqueness are very special...I definitely see myself continuing to work alongside him.”

Although creatives had been preparing for TFW for about eight months, Capri said he was pleasantly surprised with the outcome.

“I was directly involved

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and knew what to expect but that greatly exceeded all my expectations. I have participated in many shows and as far as coordination, inclusivity, and professionalism, I put it above any other,” Capri said.

Model Jonathan Batalla has also been working with Campbell for about six months. Batalla works for Corella & Co. Model Development as well and sees Campbell as someone with no limits when it comes to creation.

“I’m honored to continue to work with Dontae for his fashion show,” Batalla said. “I’m feeling thrilled and hopeful because of the potential Laboratory has to continue in rising and attracting more creatives.”

Both Capri and Batalla will be working with Campbell on his show in November.

These two along with Kyle Fedasiuk (@the.kyle. high.club on

“I think he attacks his work just as strongly as he attacks life...he’s groundbreakingly innovative.”

Instagram) seem to be the ‘faces’ of Laboratory, as they are in multiple photoshoots on Laboratory’s Instagram account.

“He’s been working hard, so whatever he gets, he has it coming. Mark my words, man deserves all the success,” Capri said.

Although this was my first time meeting Campbell and seeing his designs, it is clear to everyone who meets him that he has an innovative and creative mind, one that will continue to grow as he creates. Being a creator is easy, but being a creative is something that takes passion and consistency; Campbell inspires me and others to be just that. Making a suit tie out of a bandana, adding streetwearesque buckles to a suit vest, and experimentation with different textures in these formal attire settings were some of the designs that stuck out to me personally and drew me in.

Dontae Campbell, creator of Laboratory, will be debuting his Unisex Spring Summer 2022 collection on Nov. 13 in Tempe, Ariz. The theme for this show will be “To The West.” To find more information and keep up to date with Campbell’s fashion career, follow @ laboratory.official on Instagram.

Photo from @laboratory.official on Instagram

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All All About About Fendsace Fendsace a a Fendi Fendi x x Versace Versace Story by: Lauren Lippert

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endsace: endsace: Versace Versace Fashion Fashion Week Week Collab Collab It was the worst-kept secret of Milan Fashion Week but also the best possible thing to have happened.

Rumors swirled prior that fashion powerhouses Fendi and Versace, or more so their creative directors Kim Jones and Donatella Versace, were creating something huge. Press representatives for both refused to comment, and NDAs had been signed. The only clue the public received that this duo could be a possibility was found in a cryptic handwritten letter from Versace inviting you to the Palazzo Versace on the Via Gesù Sunday night (also known as Versace’s home).

Very few people, besides the inner circles, actually knew what this collaboration entailed.

A show? A collection? A baguette studded with Medusa heads and dazzling LizHurley-worthy inspired safety pins?

Well, most definitely. And then some.

Each designer invited the other to reinterpret their fashion house. They called it, “VERSACE BY FENDI - FENDI BY VERSACE.” Both with strong signatures, logos, styles, identities, and icons, it was bound to be a collection that paid homage to just that.

The results?

A beautiful fusion of Fendi logos and Versace Barocco, all of which were draped across the bodies of some of the most famous models of the past three decades. This paid homage to

Gianni Versace, the man who invented the supermodel. Baguette bags were also seen everywhere in honor of Silvia Venturini Fendi, the inventor of the It-bag in the 1990s.

Dubbed “Fendsace” by its creators (duh), the show was split into two collections: Jones’ Versace via Fendi and Versace’s reconfiguring of Fendi.

Jones’ opening act included Kristen McMenamy, Amber Valletta, Shalom Harlow, Kate Moss, and her daughter Lila in matching Versace prints and Greca-key necklaces that effortlessly showcased Fendi’s ‘F’s.’ Meanwhile, Versace paraded a bunch of models as her doppelgängers in straightened blonde wigs, closing with Naomi Campbell in a purple sequined dress where double F’s and V’s decorated her body.

“It’s the beauty of togetherness,” Jones said. “A true creative dialogue that stems from respect and friendship,” added Versace.

The whole show was an escapist fantasy, filled with supermodels, detailing, and of course, logos. It was a giddy, delirious, unapologetic ripping off of one another, and a ripping-up of the fashion rulebook.

The creative freedom both designers gave each other is something completely refreshing and unheard of in the fashion industry. Jones and Ms. Versace truly embraced this history-breaking show.

When they came out to take their bow, logos were spinning in the back like the audience’s heads seemed to be, and they nearly brought the house down.

That is, both houses.

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2016 Golf Wang Tyler the Creator Fashion Show Recap Story by: Alexia Hill Photo from: Golf Wang

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Runways are boring. Yes, as someone who deeply loves fashion and tries to stay up to date with high fashion brands, I will still be blunt and say most runways don’t live up to the extravagant expectations set out by movies like “The Devil Wears Prada.”

That’s not to say that the clothes are not stunning, creative and at times thought-provoking, but the fashion industry as a whole can be exclusive and impertinent. This makes it hard to be passionate about something when you feel like an outsider or that you’re not elitist enough to be a part of the conversation.

Not all of the fashion industry is like this. With time, it continues to grow more inclusive, but there are certainly specific designers who worked to make that happen. Tyler Gregory Okonma, better known as Tyler, The Creator, unconditionally paved the way for

designers to step outside the box and make a runway fashion show an experience – not just seeing a clothing collection.

Tyler’s style has been iconic from the beginning of his career.

From around 2008-2011, otherwise known as what I call the, “Odd Future era,” Tyler and the rap group, Odd Future Wolf Gang Kill Them All (OFWGKTA) wore skate wear and streetwear. Tyler’s staple of this period was Supreme hats and white graphic tees. This was his first time becoming an influential figure in the fashion industry. Although not impacting high fashion at this point, Tyler and Odd Future merchandise became the go-to for skaters or people part of the ‘alternative’ scene, and Supreme rose in prominence to become a high-end streetwear brand.

Over time, Tyler outgrew the skater look, and Tyler began

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experimenting with bold prints and his own clothing line, Golf Wang. According to the Golf Wang website, Tyler has been creating lookbooks for the brand since 2013, and his latest release was Summer 2021. In 2016, he debuted his first fashion show as a part of Made LA. In an interview with Vogue, Tyler explained that he doesn’t have any deeper philosophical reason for beginning clothing design. He just makes what he wants to see and wear.

“It’s always okay to wear whatever the fuck you want. We live in a society where you gotta dress a certain way for certain places,” Tyler said. “I think people like being taken seriously and their attire plays a part in that.

But I think being taken seriously is more about what you are talking about and how you are handling your business.”

Some of Tyler’s fashion influences include Jeremy Scott, Mikey Alfred of Illegal Civilization, Polo, Chanel, Prada and Opening Ceremony, according to the Vogue interview.

Tyler’s excitement about making his own brand translated to the electrifying 2016 Golf Wang Show.

The show began with a short skit on a set to the left of the runway. Tyler wakes up in his Golf comforter set, brushes his teeth with a Golf toothbrush and changes into complete Golf attire. There are four sets – two on each side of the runway. There is a circle-shaped runway adorned with fake grass, sunflowers, daisies and four skate ramps in the center of the runway.

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The show itself displayed his Fall/ Winter 2016 pieces. The first three male models strutted their pieces via a mini motorized bike. Models of all shapes, sizes and ages, were present, including Tyler’s younger cousin. Two male models skated during a large portion of the set, goofed around and practiced dropping in and popping off the edge of the ramp.

Some of my favorite looks from the runway include a light green faux fur coat with orange golf lettering and an orange flower on the backend, and a polka-dot-patterned denim jacket and jeans set.

Another iconic piece was at around the 21-minute mark of the show, when the show stopped and Tyler and three other men put on a short skit of playing dominoes on the stage. Tyler

wore a pink Golf bomber jacket, jean shorts and unique pink and orange Le Fleur sneakers.

The show itself included skits, a performance of an unreleased song and a showcase of furniture he designed throughout the side stage sets.

However, none of this took away from the bold and brash clothes that were showcased.

Each piece showcased either the word, “Golf” or the “Le Fleur” flower logo symbol. He created graphic tees, jeans, a track suit, a basketball uniform and more.

“I like bold colors. I use a lot of peach and mint. Colors play such a big part in my music and the way I think about things. They bring out certain moods,” Tyler said in an interview with Vogue. “It [colors] just plays such a big part in everyday life, and I just

feel like more people should use it instead of using just black and gray.”

One of my favorite parts of the Golf Wang Fashion Show made me respect what Tyler does. During his performance of his unreleased song, “Ego,” the lyrics go, “So I made my own shoes, fuck a loyalty check.” At the very beginning of the show, he skipped over his Golf Wang x Vans collaboration sneakers and chose shoes never seen by the public. These small details here and there all foreshadowed the fact that everyone attending would be given free Le Fleur sneakers, his new shoe brand set to come out later that year.

All in all, Tyler made many marks during his first and only fashion show. Since then, he has worked with Lacoste, Gucci, Converse, Levi’s and more. He has made his own show, “The Jellies!”, continues to make clothes and recently released his latest album, “Call Me If You Get Lost.” He continues to make his dreams come true and inspire those who support him to do whatever it takes to follow his dreams. By putting together something so surreal, successful and just downright different, Tyler brought fashion to a new level.

“Growing up as an inner city black kid, I wasn’t the most masculine, I wasn’t into sports, I liked pink ‘n’ shit,” Tyler said during his show. “So, I just wanted to make sure when infiltrating their world with my runway show, it was T-shirts and big girls and short guys and black kids on the runway because they don’t accept any of us in that world, for the most part.”

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the rundown on

Story by: Anna Montoya

Savage X Fenty Vol. 3 The Savage X Fenty Vol.3 show by Rihanna brought a fully inclusive and diverse presentation throughout both the models and the styles. Unlike traditional runway shows, Rihanna once again showcased the endless forms of fashion in the most extra ways possible.

Rihanna never comes to play, especially when it comes to her lingerie line. Since the mid 2000s, we have seen a huge shift in how we present fashion. The Victoria’s Secret Fashion Show set an unrealistic look on what runway models needed to look like. As mentioned in various news publications such as Teen Vogue, Fox News and USA Today, the 2018 Victoria Secret Fashion Show received the worst rating in broadcast history.

The evolution on the runway has been

more than crystal clear. Despite their differences, both shows shared some things in common, one being the overall goal to give the audience jaw-dropping moments. The first Savage X Fenty show premiered the following year, in 2019, and is now going strong for its third consecutive year.

The Savage X Fenty show displayed a great range of entertainment throughout its 40 minutes. These include exclusive performances by Nas, Ricky Martin, Normani, Daddy Yankee, Jade Novah, Bia and Jazmine Sullivan. By having live performances, the audience was engaged throughout the greater majority of the show. Although not all songs were played by live artists, all performances were accompanied by music – which kept a consistent energy throughout the show.

The show was quick to attract media attention and set people buzzing over the spectacular way that Rihanna and her team chose to execute the fashion show. Coming out of a pandemic and the Black Lives Matter movement for racial justice, it was crucial to present equality and diversity throughout the show.

“I’m always rooting for the underdog, and there’s always someone left to represent,” Rihanna told Vogue.

“Everything that’s been going on in the world has influenced not just this collection, but the way we look at our talent.”

This is one of the main reasons why the show received a vast amount of attention in such a small amount of time. We are

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growing up in a highly technological era where it is almost impossible to escape the influence of the media, which can cause problems such as mental issues and body image issues due to unrealistic ideals. Beauty standards are often unrealistic, which contributes to the mental and physical issues that past and current generations face. What better way to help normalize all body types than using the platform of a globally known celebrity? It shouldn’t matter how you look – everyone wants to feel beautiful and sexy. Rihanna reflected this throughout the model team that was casted, giving the audience extensive diversity between shapes, genders and culture.

The Savage X Fenty show had a clear goal and, as Rhianna put it, the features included “strong lines that trace contours of the body and unconventional silhouettes that push the boundaries of individuality to bring out the baddie in everyBODY.”

The biggest thing that Rihanna focuses on is ensuring she has a team full of diversity. In the third consecutive year of the Savage X Show we saw a shift from small runway models to some of the biggest model names of this time such as Gigi Hadid, to some of your everyday celebrities such as Vanessa Hudgens, as well as younger influencers like Bella Poarch. The shift in what is “sexy” has also changed since the first show. Rihanna explained that it isn’t as much as what you wear but instead how you wear it. The models on the runway truly showed this as there was a variety of cat walks, which were full of dance, drama and fierce moments. It’s all about constantly growing and being openminded to the endless concepts that can be presented to your audience. This new era of fashion has had a huge focus on realism and funk and has taught us that being yourself is key to gaining confidence.

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Emma Chamberlain Influence on Fashi

Story by: Ava Mixon Photos from: @emmachamberlain on Instagram

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n’s ion

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Is Emma Chamberlain changing the dynamic of fashion by mixing her spunky personality with luxury fashion?

and her opinions on fashion trends.

Her fashion content is strikingly interesting. Chamberlain loves a good

As Chamberlain earns her way into the industry, her fanbase from Generation Z (Gen Z) follows in her path. The new eyes of Gen Z are heavily pulling inspiration from their favorite YouTube, Instagram and TikTok influencers.

Chamberlain’s name is growing in the world of fashion. Her funky, unique style seems to catches the eyes of upcoming fashionistas, and those who wish to be trendsetters look to Chamberlain on how to do so.

Chamberlain is known to many for her vlogs.

She makes relatable content and prioritizes independence and transparency. The channel appears to be an outlet for her everyday thoughts and hobbies.

As fans subscribe and watch her content, some might compare her vlogs to that of a FaceTime call.

Recently, it is clear that she is starting to highlight more fashion-based videos. On her YouTube channel, viewers can see a “FASHION!” playlist. As videos are added, subscribers can find content related to thrifting, making ugly clothes cute, makeovers, outfit reviews

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challenge in fashion, and she seems to be devoted to making ugly apparel into a fashionable fit. Hence, her unique style.

Her outfits are always colorful and never seen before. In fashion, people look for new inspiration all the time. No one wants to blend in when it comes to being a fashion influencer. Chamberlain’s power in fashion has had a strong presence recently.

Chamberlain stans will even wait for her to post in her outfit; helping them plan what to wear for the upcoming season.

While Chamberlain displays a passion for fashion on her channel, her appearances at prestigious fashion events started back in 2019, when she attended her first-ever fashion show at Paris Fashion Week. She was seen wearing a short, colorful and geometric print dress, with white fringe detailing on the sleeves by Louis Vuitton.

This past September, she made an appearance at the 2021 Met Gala – teaming up yet again with Louis Vuitton in an elegant gold-jeweled detailed gown. Her outfit revealed some leg and back, with just enough maturity and style for her first-ever Met Gala appearance.

hate to see the fashion industry shift, the change is happening right before our very eyes. Fashion influencers no longer only fall upon celebrities in the music or acting industry. Influencers now extend to much more, which does include content creators like Chamberlain. YouTube, TikTok and Instagram are growing platforms that are more commonly targeted these days, especially by the ever so prevalent Gen Z. New perspectives for fashion are being pulled from a wider variety of platforms, and it is only fair to have the people responsible featured at such events.

Those who choose to not support the shift in the dynamic of fashion are unaware of the change of the current time. Timeliness is a relevant matter in this industry.

Therefore, accepting the approach of inviting content creators like Chamberlain to prestigious fashion events should be more accepted. She is becoming an influencer who is going to bring the right kind of attention to the industry.

Chamberlain brings a new perspective to the fashion industry. She influences the industry, rather than letting the industry influence her. In an interview with Vogue for her Met Gala look, she displayed her quirky, relatable personality. Like previously mentioned, independence is her superpower. The opinions of others do not faze her, and this appears to be what inspires others to take after her. Growing her following by being relatable makes supporters feel better connected making her influence that much stronger.

However, her presence at these events had some harsh critics squabbling on the matter of influencers attending prestigious fashion events. Questions arise about whether or not influencers deserve to be at these events. Now, as much as people

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The Fight Between Cultural Appropriat

The Fight Between Cultural Appropriat

The Fight Between Cultural Appropriat Marc Jacobs, for example, has come under fire multiple times for appropriation in his shows. In 2017, he was criticized for featuring predominantly white models in faux dreadlocks, and in 2018, he was criticized for having, again, predominantly white models in head wraps but claimed his inspiration originated from ‘70s styles rather than the many ethnic cultures that serve as an identity for many minorities.

TheFFight Between Cultural Appropriat ashion, and more importantly haute couture, is considered art. Designers take concepts and experiment with them to turn them into wearable pieces— an art using the body as the muse.

The Fight Between Cultural Appropriat Fashion in its entirety is experimental and limitless in its capabilities, so why is culture appropriation still rampant in the industry?

The Fight Between Cultural Appropriat Cultural appropriation, by definition according to the Oxford dictionary, is “the unacknowledged or inappropriate adoption of the customs, practices, ideas, etc. of one people or society by members of another and typically more dominant people or society.” It is very different from cultural appreciation and there is heavy debate on how the lines blur between the two.

He is not the only luxury designer to make such a mishap. Designers including Dolce and Gabbana, Gucci, Victoria’s Secret and Chanel have been known to feature cultural appropriation in their runway shows. Although the situation is improving, it is not difficult to realize that the fashion industry still has a long way to go.

The Fight Between Cultural Appropriat

The Fight Between Cultural Appropriat The Fight Between Cultural Appropriat We’ve seen multiple well-known brands and designers criticized for lack of awareness and education in some of their shows where cultural appropriation was present, and seen them all promise to do better. However, many critics argue that they should have been educated from the start.

But why is it important now, when fashion itself has always taken inspiration from various cultures and made it as their own?

The Fight Between Cultural Appropriat With the rise of social media and thus the large movement of trends fueled by celebrity exposure and influencers, there is a sort of exclusivity that comes with the territory of high fashion. Your typical middle-class citizens won’t see these

The Fight Between Cultural Appropriat

The Fight Between Cultural Appropriat

The Fight Between Cultural Appropriat

The Fight Between Cultural Appropriat

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tion and Appreciation in High Fashion

tion and Appreciation in High Fashion

tion and Appreciation in High Fashion runway looks and their concepts until these celebrities are seen out wearing them.

members who practice the culture they want to incorporate in their art and credit them, it is seen as appreciation rather than appropriation.

tion and Appreciation in High Fashion Fashion is a top-down system so even if cultural trends started on the streets, it is the luxury brands and fashion houses that have the capabilities to “push their global acceptance,” as stated by Women’s Wear Daily. It makes sense for these brands to be criticized for appropriation when marginalized communities have been berated and looked down upon for the styles that are being called “trendy” and “genius” when generally worn by wealthy white women.

Apart from collaborating with members of these cultural communities, it is also important to have a diverse team behind the projects in order to ensure that the cultural nods are not offensive and stay within the lines of appreciation.

Ralph Lauren, for example, has made it a goal to employ a diverse range of models and even staff members in the company to make sure everyone is equally represented in his shows.

tion and Appreciation in High Fashion

tion and Appreciation in High Fashion

tion and Appreciation in High Fashion Marginalized communities are often turned away from jobs and deemed “unprofessional” when wearing their own cultural pieces, so when these designers are praised and seen as innovative for incorporating these various cultural designs with no credit to their sources, it can be seen as an insult. It’s easier now for these communities to call out these injustices as social media has allowed for closer ties between the high fashion world and the middle-classes.

It shouldn’t be a hard task to simply appreciate a culture in high fashion and credit the origins of which they came from. But fashion, still to its nature, is a hierarchical and capitalistic venture— minorities rarely have any say in the cycling trends they set, much less what can be used as profitable designs.

tion and Appreciation in High Fashion tion and Appreciation in High Fashion

tion and Appreciation in High Fashion It is a work in progress to prevent these situations from happening and to educate these fashion houses in what is tasteful when it comes to appreciation versus appropriation, but it is important work that needs to be done in order to protect these cultural values that so many minorities hold dear.

tion and Appreciation in High Fashion When done right, incorporating another culture that is not your own can be a beautiful learning experience. When designers take their time to reach out to

tion and Appreciation in High Fashion Story by: Audrey Serrano

tion and Appreciation in High Fashion

tion and Appreciation in High Fashion33

Wearable Art or S Leather and Fabric For better or worse, as long as there are sneaker retailers, there will always be sneaker resellers.

And as long as there are resellers, there will be controversy.

There are people within the sneaker community who take great issue with sneaker resellers because they believe that resellers have tainted the sneaker community by inflating the value of sneakers.

However, there are also people who see no issue with sneaker resellers and view them as entrepreneurs worthy of praise.

Let’s begin with a pair of green Nikes, specifically the Nike Dunk Low Off-White Pine Green.

The Nike Dunk Low Off-White Pine Green was released in December of 2019 and retailed for $170 according to StockX, a primarily sneaker reseller website.

People interested in buying these sneakers have to go through a reseller because, at the time of publishing this article, these sneakers are sold out on the Nike SNKRS app.

If the buyer purchases these sneakers through StockX, they can pay anywhere between $815 to $1,586. This is a $645 to $1,416

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increase in value.

Some people, particularly those who have issues with resellers, see this as an overinflated increase in value. Simply said, they see it as greed.

They see it as a greater representation of sneakers changing from wearable pieces of art to stock-like commodities made of leather and fabric.

Several content creators have taken to YouTube to express their discontentment with this change of attitude within the sneaker community.

“They just want it to flip it,” Chris Chase, a member of WearTesters – a review site – said in a YouTube video discussing sneaker resellers.

Essentially, some resellers just want to purchase sneakers to make money off of them rather than actually

Stock Made of c? wear them, Chase said.

Echoing Chase’s points is Reggie Casual, a member of a media network that discusses street fashion, culture and lifestyle.

“Resale is officially breaking hearts and ruining the community that made sneaker collections a thing,” Casual said in a YouTube video discussing sneaker resellers.

entrepreneurial spirit alive.”

In a 2015 Ted Talk video, Josh Luber, founder of the sneaker reselling website StockX, described sneakers as an untapped investment opportunity that can be regulated just like the stock market.

Luber created StockX with the intention of creating a central exchange where people can buy and resell authentic sneakers and physical goods such as the Playstation 5.

“And that’s because sneakers are an investment opportunity where none other exist,” Luber said in the Ted Talk video.

Where there are those who look down upon resellers, there are Those who applaud the sneaker those who applaud the reseller. reselling market, like Fieri and Luber, view resellers as “It’s another lemonade entrepreneurs and the market stand,” Guy Fieri, as an investment opportunity. restaurateur, restaurant owner, and self There are people who buy acclaimed “sneaker sneakers to resell them and junkie” said in Sneaker there are those who buy them Shopping, a Complex to collect them. It is a topic that video series. continues to divide the sneaker community.

In the video, Fieri said sneaker reselling is a good Story by: David Ulloa thing because resellers are thinking outside the box and “keeping the

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ASU Fashion Advances to Phoenix

Story by: Mo

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on Program to Downtown x Campus

organ Cole

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The first two months of ASU’s fashion program residing on the Downtown campus have been bumpy – but the future is optimistic, according to both students and faculty.

The inauguration of the Fusion on First building, located in downtown Phoenix, occurred in August. This building is home to upper division housing as well as classrooms and workspaces for students in the Herberger Institute of Design and the Arts ‒ more specifically students in the fashion program.

Aside from the Herberger school, the newest addition to downtown is the Thunderbird School of Global Management, which was originally located on ASU’s West campus in Glendale.

In September, ASU’s Downtown Phoenix campus turned 15 years old. Some of the first colleges to be located on the Downtown campus include: the Walter Cronkite School of Journalism and Mass Communication; Watts College of Public Service and Community Solutions; and the Edson College of Nursing and Health Innovation. Every other college currently seen on the Downtown campus came later, and the campus is only getting bigger.

the Downtown campus, with a few classes still taking place on the Tempe campus while the program makes its slow transition. In the future, however, fashion majors and minors will find their degree’s courses only in Downtown Phoenix.

Olivia Madrid, a first year student majoring in fashion, wasn’t too happy about this move from the Tempe campus to Downtown.

“I was pretty bummed out about having to go to the Phoenix campus because I live in Tempe and fell in love with ASU because of the Tempe campus,” Madrid said.

Although Madrid preferred to be on the Tempe campus, she did note that the new location (Fusion on First) is a lot cleaner than the Tempe fashion building. With that being said, she’s not a fan of the location of the building in Downtown Phoenix. “ … I don’t like the location of Fusion on First because of the odd buildings and people nearby. I also don’t like how detached it is from the other ASU buildings; the location just throws me off,” Madrid said.

ASU’s School of Art announced in 2013 that five of its 10 graduate studio programs would be moving to the Downtown campus. This was the beginning of several art programs that would eventually move to downtown Phoenix ‒ one of which being the fashion program.

Fusion on First is located on the corner of Fillmore and First Avenue, across the street from Civic Space Park. All the other colleges like the Cronkite School and Watts College are located on the other side of Civic Space Park.

The Taylor Place dorms, where first year students reside, are about a half a mile away from Fusion on First.

In the past, in-person instruction for fashion classes were only offered on the Tempe campus. Now, as of August, most fashion courses are offered on

Madrid said that although she thinks this move was necessary in order for fashion students to have a bigger space, she thinks that the “sudden change

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He noted that it is difficult to have to commute from downtown Phoenix to Tempe for classes that are required for the same major. However, he said that he knows that this is temporary for the transition.

“I know that they are trying to get all of the classes to downtown only, but there will still be some classes that will only be in Tempe,” Boleratzky said.

Boleratzky said that he prefers to take fashion classes on the

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However, although Boleratzky is happy with the move from Tempe to downtown Phoenix, he did note that the transition has been difficult. He said that they have been waiting for different equipment to come in the mail, and that has caused classes to reschedule what they do each week.

“So right now it is rough a bit. Some of our classes don’t even have tables or seats,” Boleratzky said.

With that being said, Boleratzky is still optimistic about the future of the fashion program residing in downtown Phoenix.

“I think it was a smart decision for ASU because it is a fresh start for a new program,

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Timothy Boleratzky, a third year fashion student, had a very different outlook on this transition.

Boleratzky transferred from GCU in order to be a fashion student at ASU. He is currently taking two fashion courses on the Tempe campus, while all his other classes are on the Downtown campus.

“The downtown (campus) has more of a fashion vibe. It kind of assimilates to New York and Los Angeles, which are more fashion capitals,” Boleratzky said.

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“I felt like I wasn’t given the true freshman experience,” Madrid said.

Downtown campus and that he was “really excited” when he heard that the fashion courses were moving downtown.

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and having us go into an incomplete building as freshmen wasn’t smart.”

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and it ties together with the journalism program, so it is smart to place the two programs together,” Boleratzky said.

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Students are not the only ones who have been affected by this transition. Jessica Kosak, a fashion professor at ASU, said that she too was optimistic when she heard that the fashion program was moving Downtown.

“The bubble of the Tempe campus is comfortable, but being in a constantly developing space like downtown Phoenix is exciting and will bring a good level of energy to the program,” Kosak said.

Kosak noted that the only negative about the Downtown campus is parking. She said that parking on the Tempe campus is “nearby and straight forward,” while parking in downtown Phoenix “can be a bit of a pain.”

Kosak had a positive outlook on this slow transition and emphasized that she thinks “it’s important to focus on the end goal.”

“As the rooms are finished and furniture arrives, we get closer and closer to an ideal teaching and learning space,” Kosak said.

No matter their opinions on the building itself, Madrid, Boleratzky and Kosak all seem to agree that a Downtown area is more fashion-oriented.

“Tempe is great, but fashion is a powerful medium and can benefit from the cultural opportunities downtown,” Kosak said.

At the moment, it is unknown how long it will take for the fashion program to be fully set in downtown Phoenix. Right now, some fashion courses are still being offered on the Tempe campus, and the classrooms and workspaces in Fusion on First are not done being set up.

However, students and faculty seem to be content with how the first two months of the fashion program being located on the Downtown campus have gone.

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