Trendscends Magazine combines dialogues about trends with styles that transcend time. We seek to answer questions regarding the origins, evolution, and significance of a garment, style, or trend. Our goal is to demonstrate how to appreciate and enjoy fashion more consciously and sustainably, without sacrificing the joy that it brings.
Image Credits: -Right Page(Left) Museum at FIT;
Corsets from the Museum at FIT exhibition The Body: Fashion and Physique. (Corset on the left) Cotton Sateen in black, (Right) lace in pink, (both) 1880, France, Museum at FIT, New York.
As the next season’s collections are about to hit the runway, here are five sources to turn to see the precursors to the garments you will be obsessed with next season.
HBO’s new show The Gilded Age uses fashion strategically and purposefully. Discover the deeper meanings behind the wardrobes of its characters.
Ziyi “Zoe” Yin, an MFA Fashion and Apparel Design graduate from the Academy of Art University, discusses the upcoming launch of her brand Zhirou, its origins, and diverse cultural and historical reference points.
Kenisha Young, a graduating Fashion Design student from the Made Institute, discusses the first collection for her brand Yonetté, which combines Victorian aesthetics with a modern approach.
This season’s trends reflect the varying emotions of the world during the pandemic. In some instances, designers reinterpret the familiar, and in other cases, there is a trend towards protective garments. Uncover the ways the collections reflect this global experience.
Fall back in time with this season’s trends reminiscent of those from the late 1990’s through references from pop culture, which include characters from film, television, and music.
Image Credits: Left PageFilippo Fior/GoRunway.com/VogueRunway.com; -Right PageChase Raube-Boyer; background imageAlexander Kovalev/Pexels
The founder of the fashion media brand Manic Metallic, Liberty Imhoff discusses the launch of her first book, Alternative Fashion Capitals: A Survey of Twenty Cities of Emerging Thought Leadership. What do these upcoming fashion centers mean for their predecessors?
The creator of The Ultimate Fashion History channel on YouTube discusses her views on her favorite fashion era, today’s trends, and more!
Professor and YouTube content creator, Amanda Hallay discusses her fashion and style favorites, forecasting trends, this season’s collections, and more.
Four fashion designers explain some of the aspects from historical fashions that inspire their work.
Model Zoe Scull in “90’s Autumanl Rewind,” sporting a look inspired by Britney’s “Baby One More Time” music video.
Editor-in-Chief/Creative Director/ Graphic Designer/Photo Editor
Art Director/ Photographer/Photo Editor
Prachedes Germano Graphic Designer Zoe Scull Model
Special Thanks to Professors Elena Eberhard and Lia Larrea
The fashion industry tends to feel like it moves at the highest velocity. You can palpably feel the inertia guiding the newer trends on their quick route to eclipse what is now considered “the latest” in fashion. With constant change as a normal, it is no wonder why fashions loved last month are now collecting dust. While this industry, like others, was recently forced to slow down, fashion’s pace is still far faster than most can fathom.
While fashion’s speed is exciting, yet overwhelming at times, one thing is constant. Even the newest fashions and trends have a particle size connection to this industry’s rich history. Amanda Hallay, of YouTube’s The Ultimate Fashion History channel, who is featured in this issue, states, “There is not a trend that you see today that doesn’t have its origin in historic clothing, apart from the iWatch.” This connection between past and present is where Trendscends come in.
As you will discover in our debut issue, this magazine traces the evolution of fashion and demonstrates the ways in which the latest trends align with those that came before. We will discuss “trends” alongside
fashionable items and ideas that “transcend time.” This season’s Trendscends Trend Report exemplifies this duality. We also discuss key designers that are associated with these aesthetics, ideas, and trends. Our first issue discusses two designers who combine current trends and historical references.
Our goal is to encourage readers to reexamine onceloved garments and see their potential to become “new” again. While fashions run their course, often they get reinterpreted. Trendscends will become a go-to fashion appreciation course. We hope you continue to join us as we discuss the origins of today’s fashions and their transformation into the newest “it” item.
Thank you for checking out the issue!
“The outfit for Avril Lavigne’s Under My Skin album photoshoot This outfit is intriguing because of the stark contrast of red and black. It is Gothic-inspired outfit that has been modernized and I feel it has a timeless feel to it. It is certainly one of Lavigne’s iconic rock-chick looks, as the red X from this album cycle has become one of her signature symbols.”
“ I believe a creative style is my favorite style. This way, I can change according to mood, time, weather, or even the constant human life evolution. I go from a 60s inspiration to a minimalistic one pretty fast. The most incredible thing about fashion, especially now, is that we can be and wear everything we want. After years of being locked at home, I feel that now is the most exciting time to explore, reinvent, and find a new or better version of ourselves, not just in fashion but in life.”
As the next season’s collections are about to hit the runway, here are resources to turn to see the precursors to the garments you will be obsessed with next season.
Each season, digesting what one sees on the runway can be a complex process. Any given look can encapsulate references to past fashions, music, art, etc. How does one begin to take it all
in? The key to doing so is to learn more about what came before. Here is a list of resources to learn more about fashion history, at home or on the go.
On this podcast, as gleaned from its description and episode listings at Apple Podcasts, fashion historians April Calahan, Cassidy Zachary, and their guests discuss the historical origins and trajectory of fashion items, brands, designers, and well-known figures, royalty, books, events, and more. The podcast also delves into social and cultural discussions that tie into the fashion industry. Calahan and Zachary also interview authors, costume curators, and fashion professionals that provide further insights into specific areas of history. The presentation is a mix of conversation, storytelling, and intellectual discussion. Topics discussed on the podcast include Charles Frederick Worth, The Met Gala, costume design for film and television, and more.
American Style is a mini-series by CNN devoted to covering seven decades of American Fashion. As detailed on Amazon’s listing for the show, it provides an investigation into the political, cultural, economic, and sociological circumstances that surrounded and influenced the developments that were taking place within the country’s fashion industry. The series provides the rationale behind the fashions created, popularized, and observed within the country during these respective periods. The series is available for purchase on all major platforms.
The book covers five centuries of fashion in a small, easy-to-carry format. Edwards’ book traces the social and historical context that led to the developments of the garments from each respective time period. The work also delves into a dissection of the various construction components of featured dresses, providing their terminology and significance. The book almost feels like a museum visit because of the intricate descriptions that Edwards provides with each look. For information about suits, turn to Edwards’ other work, How to Read a Suit: A Guide to Changing Men’s Fashion from the 17th to the 20th Century.
As detailed on its website, the museum’s collection contains items from 18th century onward, amounting to over 30,000 fabrics and 50,000 pieces that fall into the categories of accessories and fashion. The contents of their collection can be enjoyed in person and virtually. They have works from designers including William Morris, Gabrielle Coco Chanel, Manolo Blahnik, and Rick Owens. Select portions of the museum’s exhibitions can also be viewed online, in addition to select individual pieces. Subscribe to their newsletter to keep up with their upcoming events, new exhibitions and additions to their collections.
If you have ever wanted to learn about the history of fashion and its relation to art, pop culture, and social circumstances, this is the resource to turn to. Each week this YouTube channel’s creator Amanda Hallay, a fashion historian and former trend forecaster, publishes content on many fashion history topics. She often dives into discussions about style icons and infamous costumes from film and television. To learn more about Hallay, and The Ultimate Fashion History, check out this month’s feature story and supplemental Q&A on pages 66-77.
In January, HBO released its first episode of The Gilded Age set in New York in 1882. The show stars Louisa Jacobson, Carrie Coon, Christine Baranski, Cynthia Nixon, Denée Benton, and others. The series follows individuals of various social statuses navigating a tricky world of unwavering decorum, one where a good impression is paramount to success. There is a tug-of-war present between the newly rich and the historically wealthy families of this era. Fashion is significant to this show. It personifies and demonstrates aspects of a character’s personality, motivation, and history.
The use of fashion in this manner is intentional. The show’s costume designer, Kasia Walicka-Maimone, alluded to this herself. As quoted in the WWD article “How ‘The Gilded Age’ Addresses ‘Old Money’ Versus ‘New Money’ Through Costumes” by Layla Ilchi, Walicka-Maimone, states that, ‘“[The costumes] enhance the storytelling. That’s
always our job as design teams to represent the underlying story of each character.”’
When the audience meets Marian Brook, she is wearing black. Her color palette reflects mourning traditions from that time. Marian has recently lost her father and home in Pennsylvania, which results in her turning to her estranged Aunts Agnes Rhijn and Ada Brook for shelter at their home in New York. Aunt Agnes tells her that no one will know that she is grieving since she is from another town. Therefore, Agnes encourages her to wear more color.
Thankfully, this clever plotline spares the audience of costume limitations regarding this character. Marian wears youthful hues like canary yellow, powder blue, and lavender from this point on. One of her eye-catching evening looks is a structured canary yellow brocaded gown. It has puff sleeves and a pleated skirt. Most of her day looks have a light and airy
The HBO series proves that costumes are for more than adornment and visual appeal.
quality. Lace is a popular textile in this character’s repertoire. One of the lace shirtwaists she wears has a tree leaf motif, which fittingly reflects that Marian is going through a metamorphosis. Not only is in a new environment, but she is also trying to figure out her purpose in life.
In the pilot episode, the wardrobe of the aunts contains subtler hues and has vastly different characteristics. Agnes wears heavy fabrications, such as brocades. At least one example features immense beaded embellishments, which look
as if they add at least five pounds of weight to the outfit. Her heavy attire seems to mimic the burden that she took on in her life to sustain her family. Agnes’ jewel-tone garments give the audience a sense of her high societal position, which she strove hard to maintain. Her wardrobe also demonstrates her more rigid personality, which she developed in response to her experiences. Whereas her younger sister Ada’s looks, thus far, consist of a warm color palette. The color scheme reflects Ada’s warm, welcoming, and optimistic nature.
However, the character Bertha Russell (Coon) is perhaps the most stimulating on both narrative and wardrobe levels. The Russell household’s matriarch focuses on climbing the social ladder, which proves to be a challenge for her. Fashion is one tool that Bertha actively employs in her ventures to raise her status. Her looks feel intricate, meticulously planned, and strategic.
One of her memorable looks consists of two variations of powder blue. The ensemble features a satin pleated peplum bodice with a square neckline lined with mini pearls and long contrasting sleeves. Along with the bodice, Bertha wears a skirt, bustle, and what Fashion: The Definitive History of Costume and Style describes and depicts as an “...over-dress...” with white ball fringe trim. The look also has
a coordinating jacket, referred to as a “... paletot...,” according to the book Victorian Fashions & Costumes from Harper’s Bazar 18671898. It features matching fringe trimming, white embroidery, and a standup collar.
Overall, the show documents Bertha’s efforts to raise her place in society, Marian’s adjustment to her new home and lifestyle, and the lives of both high-ranking society members and their employees. It delivers intriguing storylines and compelling multi-dimensional characters. All the while, these characters are dressed in intricately designed attire and surrounded by ornate settings. Whether you are looking for a good narrative or an aesthetically enticing work, this show delivers both.
Zhirou is a brand that values collaborative effort and that pulls from a variety of cultural reference points to symbolically bring people together.
It was early March as I spoke to fashion designer Ziyi “Zoe” Yin and her team over Zoom, and beams of sunlight radiated around them from their location at the Morning Due Café in San Francisco. The brilliance of the lighting would later seem symbolic of the optimistic and energetic tone of the brand’s mission. Yin is an MFA fashion design graduate student from the Academy of Art University. Her prior work, which includes a graduate collection for her university, demonstrates tendencies toward creating minimalistic utilitarian garments. They feature relaxed tailoring and intricately configured silhouettes. Yin is now on the brink of launching her unisex fashion brand Zhirou over the summer. The brand, overall, possesses a collaborative spirit that informs its mission and design aesthetics.
After graduating, Yin started to conceptualize her brand and its first collection in the summer of 2021, but it took her some time to find the direction she wanted to take it. During this process, she has worked as a design assistant for Zinare Bride and a contemporary style advisor for Saks Fifth Avenue. Yin explains that during one workday, “the inspiration came to my brain, I wrote it down” and prepared sketches later at her home. She details that her design process began again in January, and she took the courses through MasterClass taught by Anna Wintour and Diane Von Furstenberg to acquire more business knowledge. Yin also used these experiences to figure out how to bring her “thoughts” and “cultures” into her designs.
wool trench style coat, and fitted white pants. Another look consists of fitted pants and a long sleeveless dress shirt with a camellia flower brooch, from Yin’s father and hometown, on one side of the chest. A third look features a dress shirt with a standing collar, fitted pants, and a coat with a notch lapel, padded shoulders, and split back. There is also a look that Yin describes as a “military jacket with (a) shirt, (and) functional rope pleated skirt,” which is detachable, “over fitted pants.”
An image from the day of a fitting.
In terms of the general design aesthetics and inspirations of Zhirou, Yin explains that it “pulls from Greek and Chinese mythology.” She also details that it also “references… nature, which can be seen in the peacock and snake brand logo.” Zhirou’s unisex nature lends to its use of both feminine and masculine tendencies. Yin notes that the brand and its first collection refer to inspiration points such as “traditional Chinese tunics, Scottish kilts, … 90s American Sitcoms,” and “street style.” She notes a symbolic meaning to her brand logo’s incorporation of a peacock. Yin states, “the peacock is a sacred symbol that represents peace, love, and integrity.” The brand’s logo ties into its overall mission and concept.”
Thus far, her first collection includes one look consisting of a cotton top with tie closures that reveal the back, paired with a spliced
Her teammate Jacqueline Hofmann, who works on paintings and social media content for Zhirou, articulated that the brand focuses on designing “a collection that exemplifies the diversity of the team itself” with “different backgrounds, ethnicities, socioeconomics, and cultures.” Hofmann adds the “mission was just to have a very inclusive brand that appeals to a huge multitude of people and allows them to express themselves in their most authentic way.”
Stylist & Photographer : Ziyi “Zoe” Yin Model: Devynn Fergerson
Her biography, featured in the Academy of Art University Spring Show 2021, notes that she is originally from an area, “Kunming China (a) Yunnan province,” that possesses “diverse ethnic groups and tribes.” Zhirou reflects this aspect of Yin’s background. Yin aims to demonstrate admiration that various groups have for one another despite their differences. She also wants to show how these groups are alike and can share an appreciation for similar things, such as aesthetic tendencies.
Beyond the brand’s overall sentiment and mission, it also references fashion history in its design approach. Yin explains that she references “the period
of 1946-1956” because she feels that, to her, it “represents femininity and conformity.” Her work offers a counterpoint to this idea. Yin states, “I want to keep men’s tailoring techniques to create more feminine and comfortable styles for men and women. I don’t want to highlight gender in clothes and colors.”
Instead, she explains that she wants to create designs that have a more natural fit and are fashioned from high-quality textiles such as silk, cotton, and wool. She wants them to be adaptable to a wearer’s needs in terms of styling. She wants to bring back aspects of couture and fashions from the past to break up, and combine with, current fashion trends, such as the tendency to create things to be oversized. Yin concludes that the approach is “Put fashion history and new trends together to make it creative and keep it in balance.”
As with her team, Yin wants to bring together many reference points to create a diverse brand. The designer also brings this dynamic to the functionality of her designs. She keeps in mind the ways others can style her pieces to create unique looks. Yin ultimately wants to bridge connections between the past and the present, different cultures, and among individuals. The interview’s tone, which is full of optimistic excitement, reflects this positive energy of acceptance and bringing people, ideas, and aesthetics together to create a brand and “a community,” as described by Hofmann.
An image Ziyi “Zoe” Yin with her model Devynn Fergerson from the day of a fitting.
“I want to keep
techniques to create more feminine and comfortable styles for men and women.”
Stylist & Photographer: Kenisha Young
Kenisha Young launches her first collection for her brand Yonetté which provides a modern and inclusive take on historical fashions.
When I spoke to Kenisha Young in early March, she was still busy at work on her first collection. She would be presenting her first collection on May 21st at Philly Fashion Week, as a part of her school the Made Institute’s fashion show. The mission of her brand Yonetté is one motivated by personal experience and her ancestry. Overall, her brand’s premiere collection plays off combining history with modern sensibilities.
Kenisha Yonetté Young: So, before I even enrolled in school, I had no work history in fashion at all. I got into fashion because it’s just something I wanted to do…and me being a thicker curvier woman, I wanted to make clothes for like women of my size. My grandmom did sew, so I used to sit down next to her when I was a little kid and watch her, and the interest (grew) from there…after I started school, (and) I gained those skills…how to create garments, tech flats, and everything like that, I started to reach out to certain jobs. I started working for a woman in North Philadelphia for a little bit, but I was sewing for her, doing her orders, and stuff like that. I also did order packing and operations for another company as well. They are very small scale. They ran like Etsy shops and stuff like that, but that was only temporary. So, that’s kind of like the only work history I have in fashion.
And I would do the heat transfer press for her logos on top of the clothes. The second one is Ashley’s Kloset…I think on Instagram it’s called ALM Collection. Basically, what I was doing for her was making the garments. So basically, I was at the sewing machine all day. It’s nice to get that like, like not only with the fashion stuff but how they ran their business. So, I’m glad like I got that experience as well, you know, so I could put toward my business. So, I’m grateful.
What is the story behind your brand’s name?
KYY: So, my middle name is Yonetté, and it was passed down through three generations of my family. So, we all have like the same middle name. To me, that kind of represented inclusivity, and unity, and I really wanted to transform that into the mission for my business as well. I want to be a complete 100% made-to-measure company. So, basically what that means is I am making garments based off each person’s measurements, and it’s not just some universal size small or large. You know, it’s custom-tailored to whatever that person’s bust, waist, hip, whatever measurements are. So, to me, that’s a way to be inclusive, as far as size, which was a problem that I was…that we all see in the fashion industry. So, tying that to Yonetté, I felt like I just wanted to give someone the same feeling, that I felt when I hear my name, see it, or write it.
The first one, Pink Royalty, she kind of did like kid’s clothes, it was very like costume-y. She made like little boxing outfits for kids for birthday photoshoots or like Halloween and stuff…
I just want to touch base on that the made-tomeasure part…so I feel like this can also assist me with being sustainable as well. I want to try my hardest to be sustainable. I know a lot of peo-
“I felt like I just wanted to give someone the same feeling, that I feelwhen I hear my name, see it, or write it .”
- Kenisha Young
Stylist: Kenisha Young
Photographer: Shanyn Fiske Model: Michelle Wilson
ple just think, right now, that it is just like a trend or whatever, but it is something that I really take an interest in…I definitely want to cater more towards that as well. So, by making these madeto-measure garments it will cut back on waste. (With) me buying excess fabric that just goes to these landfills and everything like that…and I really feel that will help. That will be a way that I can support the sustainable industry as well.
KYY: I would say, basically I just want to create a new experience. So, the concept would be just to give people a more personal shopping experience. With that being a made-a-measure, I will probably talk to them one-on-one, and we can just sit down and talk about whether they have a custom design idea or if they want one of my pieces customized to them…I feel like it adds to the value when you know you are the only one with this piece like it was actually created for you.
What are the inspirations behind your first collection?
KYY: This collection my inspo the undergarments and lingerie pieces from the Victorian era, and I just wanted to combine that with modern-day silhouettes. So, the underlining and everything with the corsets, bustles, and petticoats that they used to wear during that era, I kind of took that and just wanted to remake that into something that was more modern. I was intrigued, at first, because we were doing an assignment in class where we were going down fashion history… I really took toward this era, because everything was like puffy…I didn’t re-
ally understand what made the cinched-in waist and puffy backsides and everything like that. Honestly, I started first on Pinterest where I was just like scrolling through for hours and hours. (I was) researching the undergarments... So, I wanted to take that aspect and put that into my garments now. Most of my pieces have (a) corset and boning in them, just to give a shape and accentuate a woman’s curves. So, that was the inspo as far as the construction. I am also doing a lot of hand sewing, which they used to do a lot as well. My color palette is from that time as well. A big misconception (that) I had was that back during that era that they only wore dark earthy tones, but that’s not the case at all.
What are your plans for the brand as it grows?
KYY: As it grows, I want to hire an AI designer, because I want to basically give the whole care (and) shopping experience. Basically, I want to amplify it…I want them to have their own 3D avatars and it will be like their own personal mini-me. So, when they log onto the website, and they are ready to shop for new pieces, their mini-me can try on the clothes as well. It will look just like them (with) their exact measurements…It will be a split-screen (with) them in a little dressing room, and on the other side will be like my actual website with the available pieces. If they click it…(they) can try it on, but that’s how many years down the line?... Then maybe open a potential (physical) store.
The interview was condensed.
After looking at the collections from Fall 2022, there is no denying that the pandemic impacted their creation and our lives. In some cases, there is an interesting dichotomy present within their lineup. For example, it seems that the fashion brands have found some comfort in the familiar, while simultaneously embracing the new. The contradiction present within this combination demonstrates the feelings of many individuals have. They miss some aspects of the world pre-pandemic but realize
that change and “a new normal” is inevitable. In other instances, the collections reflect a sense of skepticism regarding the future the need to arm oneself for the challenges ahead or protect oneself from the elements. There was an overall sense of needing to get into a survivalist mode. There are also instances of a more dystopian or “end-of-the-world” outlook regarding recent events. This season’s trends ultimately reflect this tug of conflicting feelings and desires that we have felt during this experience.
Despite their many aesthetic differences, designers tapped into similar emotions that surrounded the pandemic.
One trend that reflected this contradiction was the unconventional takes on the trench. Burberry and Sacai both sent variations of trench coat style dresses this season. Everything from a trench’s collar, lapel, pockets, belt, and buttons were moved and adjusted to adapt to
this silhouette. Acne Studios took this reinterpretation further by fabricating its version out of a leather-like textile. The brand also created a trench and shearling coat hybrid that had quilted diamond shapes, finished with a floral print in their centers.
Moto jackets also had a strong presence this season. The garment was reworked, reconstructed, and reinterpreted. Most of Junya Watanabe’s collection was devoted to reimagining the construction of this edgy staple. One standout example has a Victorian corset silhouette, peplum, and bell sleeves. This take on the motorcycle jacket is reminiscent of steampunk. Chloé produced a moto trench coat combo this season, as did Ann
Demeulemeester. While others played with more finer aspects of the motorcycle jacket. Alberta Ferretti gave it a gray metallic finish and faux fur trim and presented it in a slightly cropped version. Meanwhile, Vaquera presented a style with football gear-shaped shoulders and another version in a poppy red satin. Valentino showed a fuchsia floral embroidered example that is not fabricated in leather, faux, or otherwise.
While some collections show the conflict between missing the past and accepting the present, others reflect a sense of survivalism. The theme was interpreted in a variety of different ways, throughout the season. For example, at Balmain this idea was seen in its use of body armor style dresses and looks that
have a corseted yet tactical feel to their design. The latter designs resemble fencing attire. Dior also reflected this desire for protection against the elements and challenges by incorporating padding at the front of their bar suit jackets. Elsewhere, Dior featured a chainmail dress, that was adorned with lace detailing.
Alongside with an armed and equipped take on survival, this season also showed a desire for protection from the elements or current circumstances. Dolce & Gabbana showed a look that combined protection and shelter, which becomes vital in survivor mode. The brand address these needs through its incorporation of a pufferjacket that could be best described as a por-
table personal tent. The collection for Rick Owens featured protective outerwear that combines characteristics of a puffer, hoodie, and cape. Vaquera featured a puff accessory with a protective component in the form of a shin guard and leg warmer hybrid.
In other collections, there was an almost doom and end-of-days sentiment.
There was also a sense of having to weather the storm or current events impacting one’s morale. These vibes were illustrated in deconstructed attire, as demonstrated in outerwear examples by Adeam and Christian Cowan, and ripped and torn attire by Acne Studios and Ottolinger. At Givenchy, these concepts were seen in a more grunge and punk-like iteration utilizing ripped t-shirts.
Holding on to the pieces we know well maybe a symbolic coping mechanism in some instances. The sea- Image
son, however, brought in the familiar but introduced some much-needed experimentation regarding these long-established styles, ensuring that we don’t become too “comfortable,” and unaccepting of change. The season also demonstrates that we do not quite feel content just yet, and still have the instinct to protect ourselves from what may still lie ahead. The collections overall show an array of emotions that one can feel as one’s lifestyle is forced to adjust to unpredictable circumstances.
Phyllis G. Tortora and Sandra J. Keiser note that, in their work, The Fairchild’s Books: Dictionary of Fashion, credit the company’s founder, Thomas Burberry, with having been responsible for the design of practical trench coats that fended off water, worn by the military in World War I.
According to Shonagh Marshall, in the AnOther magazine article “A Brief History of the Puffer Jacket,” the garment’s first iteration was seen in the year 1936 and was created by designer Eddie Bauer.
Even though the garment has a youthful appeal, the original motorcycle jacket was created over a century ago, in 1913, by the company Schott NYC, according to Tom Courcey in the article “The History of The Motorcycle Jacket,” published by Ape to Gentleman.
Image Credits: Left Page -Page (Left Top) Burberry; (Middle Bottom) Rin Tanaka/Schott NYC; (Right Top) Eddie Bauer; Right Page-(Left Top) The John Woodman Higgins Armory Museum; (Right Bottom) Comme des Garçons.
Turkish chainmail coat, 16th century (Turkey), 16th century, chain mail. The John Woodman Higgins Armory Museum, Worchester, MA.
According to Encyclopaedia Britannica, the exact beginnings of chain mail is unknown. As detailed by the Encyclopaedia Britannica editors, the version made exclusively of metal arose in the Medieval Period.
Rei Kawakubo for Comme des Garcons, Jumper (Sweater), top, skirt and pouch from Holes collection, autumn-winter 1982-83, 1982, medium unknown, Collection of Takamasa Takahashi.
Deconstruction Fashion: Fashion: The Whole Story, edited by Marnie Fogg explains that the concept of deconstruction in fashion based on one of Jacques Derrida’s philosophies grew in popularity during the 1980s. The History of Modern Fashion by Daniel James Cole and Nancy Deihl, explain that the aesthetic properties of deconstruction include raw incomplete finishing and construction details, and/or torn and worn fabrics.
The 90’s brought us diverse fashion and pop culture. The 1990s brought us memorable characters and unforgettable fashion moments. This time brought about a wide variety of diverse aesthetic reference points that were at times contradictory yet stimulating. Moods ranged from minimal to maximal, preppy to grunge, and nearly everywhere between. This season, we are looking back at this fashion era through the lens of pop culture. The inspirations contained herein come from film, television,
On the grunge and punk side of the style spectrum, one character that presents aspects of these aesthetics is Kelly Bundy from the sitcom Married with Children. Bundy’s look often consists of a leather jacket, mini skirt, distressed jeans, crop tops, studded belts, crucifixes, or gothic-themed jewelry. She also enjoyed throwing in pops of color in her look, which helped balance out her edgier aesthetics. We emulated her signature look in a few different ways. One iteration involves pairing a vintage studded Betsey Johnson belt with a leather jacket, crop top, mini, and fuchsia Alexander McQueen padlock zip around tote bag.
On the preppy side of things, we looked at infamous ensembles from the Baby One More Time music video by Britney Spears and the film Clueless. Both looks fall into the “schoolgirl” category. In our version of Britney’s look, we put a twist on it by swapping out the cardigan for an argyle sweater vest.
The plaid outfits of Cher and Dion from Clueless are now iconic. In our take, we opted to pair a plaid-yellow skirt with a black and white headband in the same print, thereby representing the close friendship of these two women. The look has since been resurrected through recent pop culture moments like Iggy Azalea's “Fancy” music video and Clueless star Alicia Silverstone’s Lip Sync Battle performance of the same song.
Finally, we look at the sitcom character Fine Fran from The Nanny. The show’s memorable theme song, describes her as having “style” and “flare.” CR Fashion Book’s Spring/Summer 2022 issue possesses an article about the character, in which its writer, Max Berlinger, refers to her as a “Fashion Icon.” Fine’s look was classic yet quirky and statement-making. Her trademark style included turtlenecks paired with sweater vests, skirt suits or minis paired with black tights, and bold pops of color and prints. At other times she would wear corseted pieces and crop tops. We channeled Fine by tapping into her love of layering and the combination
of bold prints, colors, and quirky accessories. Our ensembles feature her signature minis, turtlenecks, and black tights. Red shoes are thrown in the mix to nod to the time that Fine brought bad luck to a New York Rangers hockey game.
If one can learn anything from the 1990s, it is that fashion should be fun, creative, dynamic, and a form of personal expression. Each of these pop culture references embodies one or more of these attributes. The era gave us so many different styles. These are just a few from an eclectic time.
Imhoff discusses her new ebook on unorthodox fashion capitals, her brand Manic Metallic’s current content, the importance of revisiting history in her work, and more.
Liberty Imhoff began to form her fashion media company Manic Metallic in 2019. The brand has become a resource for coverage on topics ranging from industry concerns, key fashion professionals, criticism, events, history, culture, reviews of runway collections, films, and exhibits, etc. The company has since expanded into podcasting and produces exclusive content, such as long posts about fashion designers and figures throughout history on social media. We recently spoke with Imhoff
regarding future plans for her brand, the significance of covering fashion history, and more.
The main topic we delve into, on this occasion, is her new ebook Alternative Fashion Capitals. Imhoff notes that fashion has long been treated as an industry exclusive to select cities. She aims to change this. The work presents an argument for broadening our current perception of the industry’s scope.
What inspired you to write this book?-
Liberty Imhoff: The fashion industry has a fixation with the more well-known Big 4 fashion capitals (New York, Milan, London, and Paris), and it is entirely unreasonable that the fashion industry reserves fashion for a few select cities. The situation is getting better, but much too slowly for my tastes. The twenty cities featured have some of the best fashion talent that I’ve ever seen. It deserves to be recognized.
LI: The initial research process was figuring out which twenty cities would be featured. When choosing the featured cities, I considered (among other things) the solidity of each city’s fashion infrastructure. The fashion infrastructure of a given city, by our definition, includes the strength and consistency of the following: shopping districts, specific places to shop, brands, events, fashion organizations, fashion organizations, fashion publications, universities (and) colleges.
After the cities were decided upon, researching them on an initial basis collectively took about a few intense months of doing nothing but alternative fashion capitals work.
Alternative Fashion Capitals was initially slated to be a project for the website and for social media – and we had finished it in 2020 – but I believed that it would be good to get the project more widespread attention by turning it into an ebook. What we did, then, was to take the information in the ebook and research it even more, which took a few more months.
For example, instead of simply listing out
brands and specific places to shop, we researched each featured brand/store on a deeper level and did a short write-up of each one. By doing this, the wealth of information that we presented to the public became so valuable that we placed the ebook on five (now six) different platforms- and a few different electronic formats – for consumers to purchase.
What are some alternative fashion capitals, and why do you think they are on the rise?
LI: A few would be cities like Seoul, Lagos, Melbourne, Vienna, and Bogotá. Cities like these are on the rise because they not only have the fashion talent and a wide range of unique places to shop for quality clothing, but they are also great at being more inclusive of the general public. In turn, the public in those places is more appreciative of fashion for its own sake, which converts them to loyal audience members and consumers. That level of openness is not necessarily seen in the wellknown Big 4 fashion capitals.
These twenty cities also generally have the educational institutions, professional fashion organizations, and fashion publications that help to make them fertile grounds for a rich fashion community. While each of them has areas of improvement that could be undertaken, I am confident that these advancements will happen.
What is unique about these alternative fashion capitals? What do they have to offer the market?
LI: I would refer to my previous answer and
Melbourne, Australia Seoul, South Korea say that their desire to include the public in the world of fashion has been wonderful to learn about. For example, Seoul has the Seoul Fashion Festival, Tokyo has the Tokyo Girls Collection, and Melbourne has the Melbourne Fashion Festival. I believe that it is important for the fashion industry to be inclusive of the public because you can’t just come for people’s money and purchasing power without valuing them as people. Fashion has long had a problem with elitism, and these twenty cities are going against the grain. The New Yorks and Milans of the world could stand to take a few notes on this.
These cities are also leading in sustainability, diversity, and technological advances as these topics relate to fashion, so they have an immense amount to offer the market.
Can you tell us briefly about the history of one of these alternative capitals and how it has gotten to the point it is at now?
LI: Beirut, which has given us extraordinary talents such as Elie Saab and Zuhair Murad, has a design culture that puts forth haute couture levels
of talent that rival the best in the world. It has also had to historically deal with multiple crises that have threatened the continued existence of its fashion industry. Wars, multiple instances of governmental upheaval, the explosion that occurred in 2020 are a few examples. But, through it all, the city’s design culture has endured because it is a close-knit community that knows the meaning of collaboration.
What were some of your favorite alternative fashion capitals to learn about?
LI: All of them! But if I had to pick a few, I actually enjoyed learning about Beirut a lot. I also liked learning about Kiev, Tbilisi, and Vancouver because those cities are not known on a wider scale for their fashion offerings, and it was amazing seeing the sheer level of talent that they have to offer.
What subsequent steps can these upcoming fashion centers take to further cement their standing in fashion?
LI: Continual strengthening of areas like edu-
cational offerings for fashion, industry publications, and professional organizations would be a great start. It is those three things that can help to foster a supportive fashion design culture. Also, getting the message out effectively about what these alternative fashion capitals each have to offer needs to be a next step. Manic Metallic’s e-book was a great start, but no one will ever know a city better than its inhabitants. In a way, the fashion industry as a whole needs to be the entity that changes. Stop paying so much attention to only four cities on a planet with almost 8 billion people.
LI: It shouldn’t mean anything unfortunate. The success of these twenty cities is good for the
wider fashion industry. It’s actually a bad thing if four places control the vast majority of fashion. What does that say to the public? That says that these Eurocentric powers determine what fashion is and who it is for. So, the success of these twenty alternative fashion capitals means that more voices get a say in what fashion means. That can only be good.
How do you feel that fashion will benefit from these additional capitals?
LI: I would refer to my previous answer and say that fashion will benefit immensely from there being a more globally and ethnically diverse set of people driving the fashion industry forward. Stagnation breeds decay, and fashion is in danger of becoming much too stagnant if it does not get new design talent with fresh perspectives in- and quickly.
“Stop paying so much attention to only four cities on a planet with almost 8 billion people.”
- Liberty ImhoffImage Credits: Left Page(Left) Bart Walus/Pexels; (Right) Ethan Brooke/Pexels; Right PageNupo Deyon Daniel/UnSplash
What was something that you found interesting while conducting your research?
LI: I was overcome with how much fashion talent that there is in existence. Being based in a New York-centric country, it is hard to get these different creative perspectives without making a specific effort to do so. The research process was a true eye-opener in that way.
What would you like your readers to take away from this book?
LI: I would like for readers to realize that what they have been told about New York, Milan, London, and Paris being the sole four fashion capitals is wrong. While those cities have certainly done much for the profession,
Tokyo, Japan
having everything revolve around them has not been great for the fashion industry. We need to recognize the design talent in places such as India, Nigeria, Austria, Colombia, and Canada. There is plenty of it to go around. And if you’re looking to get into the fashion industry, consider one of these twenty cities for your educational and professional journey. These is a lot of room for growth, and the fashion culture in those places is strong.
LI: Manic Metallic has recently embarked on creating a podcast- “The Manic Metallic Podcast” and it has been great! To be able to have a wider reach that social media usually allows for has been very important for us. It also allows for a bit more freedom than articles
“We need to recognize the design talent in places such as India, Nigeria, Austria, Colombia, and Canada.”
- Liberty Imhoff
Vienna, Austria
(which we still love to produce!) usually permit.
We are also in the process of looking for speaking engagements and other opportunities that will allow us to spread our message of fashion being an art, discipline, and societal force for change. That’s about as specific as I can get for now, but we’re excited!
I have noticed that your brand has highlighted a lot of historical fashion designers, professionals, brands, and more. Why do you feel that it is important to cover these subjects today?
LI: It is impossible to understand the present state of fashion without understanding what and who came before it, and we have to understand fashion’s history in order to be able to understand what implications it has on the future. It’s really crushing to see just how many people
both in the industry and outside of it have no idea what many creative references mean with respects to fashion. I believe that this has contributed to the intellectual and creative decline of fashion – at least in the mainstream. Some of the best ideas can be found outside of the houses and media sources that we’re bombarded with on a daily basis. But, to answer your question, it is extremely important to cover fashion’s past because people these days honestly have no clue about a lot of it.
Do you plan to publish other books in the future?
LI: Yes, I do. When that will be is to be determined. It is a lot of work to create a book.Researching, writing, marketing, etc. is so time-heavy that nothing else gets done.
But I do have a lot of topics in mind that need
“Stagnation
decay, and fashion is in danger of becoming much too stagnant...”Image Credits: Left Page(Left) Juan Nino/Unsplash; (Right) Jezael Melgoza/UnSplash ; Right PageJacek Dylag/UnSplash
Hallay’s background in trend forecasting, art, and fashion history results in her delivering multifaceted and stimulating content on a regular basis.
When one thinks about the study of fashion history, usually it is associated with reading often heavy large books, visiting museums, or taking a college course. Amanda Hallay, however, has proven that this subject is not limited to these confines with her YouTube channel, The Ultimate Fashion History. She has extended access to fashion history, for those who don’t have an opportunity to study it as a subject in college or live too far away from any museum that spotlights fashion. Her channel, which has over 84,000 subscribers, covers film costumes, style icons, the relationship between art and fashion, and more. Her presentation style, combined with her knowledge of trend fore-
casting, art, and culture, makes her channel an ever-expanding go-to resource for anyone who wants to know about fashions past and present. She has plans to launch a new series, expand prior ones, and create other content to follow.
While taking in Hallay’s videos, a few things that separate her channel from fashion history lectures are her clever and witty delivery and insightful anecdotal contributions. Hallay’s upbeat personality also translates to her attire and surroundings. Both include bold colors, and the former also utilizes prints and patterns. In addition to a lively personality, she also possesses an encyclopedic knowledge of art, film, history, trends, and culture. Both of which lend
“As with all kids, I rebelled against my parents, which meant that I rebelled against fashion...,”
- Amanda Hallay
to compelling and entertaining content.
According to the Fault magazine article, “Life Father, Like Daughter?” by Alexandra S. Jupillat, Hallay is the daughter of David Wolfe, a fashion historian, and artist. Hallay notes that he is also an established trend forecaster for the fashion industry. Given her father’s background in the industry, it seems natural that she has followed a similar path. Hallay, however, explains, “As with all kids, I rebelled against my parents, which meant that I rebelled against fashion, and took great delight in telling my dad how uninterested I was in fashion! By the time I grew up, however, I had fallen in love with it and was very glad of his help and advice.”
So how did she end up interested in fashion, despite her initial reluctance to embrace it? As Hallay details in our interview, it was while she was pursuing a Bachelor of Arts degree in art history, which according to her LinkedIn was obtained from The American University of Paris, that she found her interest in fashion arose. She notes, “I spent four years looking at beautiful paintings, and I found that I was drawn primarily to the clothes and wondering why people in the past wore what they did.” Hallay adds that this curiosity fuels a continuous quest, within her work, to uncover the surrounding context of people’s fashion choices from past to present, rather “than the actual clothes themselves.”
She concludes by remarking cheekily that “there are” however, “certainly some Adrian gowns that I might actually kill to own!”
Following her education in art history and receiving a Master of Arts degree in creative writing, Halley became a European Trend Analyst for the Donegar Group. Her professional experience includes fashion editor roles at Men Mode and Couture magazines. She explains that working for these publications was a great learning experience that was both “hard work” and “fantastically fun!” Hallay adds, “My background at that time had been in historic costume, so I had to learn more or less everything about contemporary fashion in a hurry!” In addition to these experiences, she is a consultant for the Museo de la Moda in Chile and a professor at LIM College in New York.
Aside from these roles, she is the content creator of The Ultimate Fashion History. When asked about why she decided to create this channel, Hallay explains, “I started the channel when I realized that not everyone in the world was able to study fashion history in college, either for geographic, economic, religious, or social factors. I really dislike the elitism that often comes with the study of fashion history; I think it should be open to everyone.” Hallay also notes that she likes to create unconventional content and go beyond the topics of dresses from the Regency era, Twiggy, and Audrey Hepburn and instead prefers to discuss subjects like Burt Reynolds, Harry Belafonte, and Mama Cass. She adds, “Don’t get me wrong, I love Audrey Hepburn, but there are other women of the past (Women of Color, women with unconventional looks or diverse body types) who were equally influential and deserve to be celebrated.” Hallay details that her favorite era, in fashion history,
“the 17th century
is
because the
“... looking at beautiful paintings...I found that I was drawn primarily to the clothes and wondering why people in the past wore what they did,”
- Amanda HallayImage Credit : Right PageThe Museum at FIT / Eileen Costa
Dresses by Gilbert “Adrain”
Laurent, Yves Saint. Evening Ensemble, 1969 (France), multi-color silk organiza, taffeta, and satin,The Museum at FIT, New York
‘ideal body’ type of the era was to be round and ‘Rubenesque,’” and that garments from this time, fabricated in “loose, billowing taffeta” were less restrictive and more aligned to this figure. Apart from fashion from this time, she states that she also admires Native American buckskin dresses, Nigeria’s Yoruba garments, and casual wear from the “Kennedy era.” When discussing the buckskin dress, she explains “That garment is pretty much as perfect as a dress can get.” Her favorite historical fashion and costume designers include Orry-Kelly, Yves Saint Laurent, Christian Dior, Vivienne Westwood, and Edith Head. She notes the strengths of each, stating for instance that Orry-Kelly created figure-complimenting garments intuitively.
As for the future of her channel, Hallay details plans to interview untraditional figures who influence the direction of fashion and create more episodes of her established series. She is also creating a “Revival Trends” series, which she explains will go into subjects such as the “The Colonial Revival, The Deco Revival, (and) The Aztec Revival.” She adds that it will detail “when they happened, and (far more importantly) why they happened.” The latter
focus in this series relates to her fashion trend forecasting philosophy which is, as she states, “that ‘fashion is not an island; it’s a response!”
This motto also taps into her opinions on the significance of fashion history today. Hallay notes that “Fashion… in my opinion,” like art, informs us about the “hopes, dreams, fears, and aspirations,” of individuals from prior eras. The same can be said about our own current fashion choices. For example, Hallay states, when asked about recent trends, that the industry is “stuck in a cycle of revival.” She correlates this occurrence in fashion with the circumstances of the pandemic, which have caused many to not seek status-quo breaking fashions presently. Our own fashion choices, such as the decision to revisit past eras in our current season, will, at some point, be scrutinized to inform future generations about our motivations and experiences, and the cycle will continue. As a result, fashion maintains relevance well beyond its application to our lives today.
“I really dislike the elitism that often comes with the study of fashion history; I think it should be open to everyone,”
- Amanda Hallay
Amanda Hallay: Oh, goodness. So many! I love French-Egyptian singer Dalida, as she was more ‘handsome’ than ‘pretty,’ and was smart enough to discover her iconic look and then stick with it for decades. I love glam-rock icon Marc Bolan, as he managed to make theatrical attire (sequins and leopard print and feather boas) work as streetwear. And I love Elizabeth Taylor for her over-the-top-approach to style and her utter embrace of the kaftan!
Who are some of your favorite present-day fashion designers?
AH: I really love how Christopher John Rogers is bringing palettes and playful silhouettes back to fashion, Alessandro Michele for Gucci is a pure delight, and Pierpaolo Piccioli for Valentino is so respectful of the label’s legacy that season after season, he delivers breathtaking couture that—at the same time—evokes The Master yet is entirely his own.
What is your process for forecasting trends?
AH: Trend forecasting is the easiest thing in the world to do if you follow my manta that “fashion is not an island; it’s a response!”
Fashion doesn’t just ‘happen’; It is a product of the world that creates it. So, to forecast trends, look to what is happening in politics, in economics, in movies, TV shows, literature, music…look at what is obsessing people…make connections! It’s all about making connections. Forecasting is great fun, at it’s a splendid game of putting all the pieces together until you arrive at that ‘Eureka!’ moment.
What were some of your favorite collections from the recent ready-to-wear and haute couture collections, and why?
Without a doubt, Pierpaolo Piccioli’s Winter 2021/22 collection for Valentino. The palette, the volume, the evocation of both the 1950s and the 1650s….it was sublime!
What were your favorite collections from the Fall 2022 Ready-to-Wear season, and why?
I actually found the Fall 22 RTW collections kind of depressing. The world is recovering from a global calamity and we are again (hopefully) moving into better, calmer, happier times (the current situation in Ukraine notwithstanding), and it saddened me to see fashion return to its staple offerings of deconstructed clothing in dark colors. There were exceptions, though, and Fendi was beautiful.
What are some historical references present within the collections from this season?
“Rei Kawakubo called: she wants her ‘80s back.” Seriously. Oh, I cannot be the only one out there who is bored, bored, bored with all-black collections and models frowning and looking angry as they stomp down a catwalk? It was exciting in the ‘80s, standard in the ‘90s, but surely we should have moved on from the idea that for fashion to be ‘good’, it has to be ugly? Kim Jones for Fendi, on the other hand, offered up a delightful collection that spoke to the feminine ‘30s, with lots of sheer, floating fabrics in a beautiful (and very ‘30s) palette of soft teals and powdered corals.
Hallay delves into her fashion and style favorites, forecasting trends, and this season’s collections
Moran, John Leon. Advertisement for G. Wiedman Brewing Co. 1861- 1897, Chromolithographs, print of portrait, proof, Publisher: L. Prang & Co., Boston Public Library, Boston, Massachusetts.
Fashion designers explain some of the aspects from historical fashions that inspire their work.
of the brand Yonetté:
How does your work reference fashion history?
Kenisha Young: So the references of the (corset) and embroidery in the first pic, the (bustle) in the third pic and the (headwear piece) in the second pic were what inspired the sketches of the Victorian era.
Ziyi “Zoe” Yin: (It references) Like the period of 1946-1956 years which represents femininity and conformity. I want to keep men’s tailoring techniques to create more feminine and comfortable styles for men and women. I don’t want to highlight the gender in the clothes and colors, just show the fitted natural jackets or trousers in wool, cotton and silk. And when put it together can be dressed up when put it separate can be dressed down. Nowadays most of brands are trying to convey oversized message in everything. But When trace back to
the last centuries of fashion, more points are couture. I love oversized, not in everything. Put the fashion history and the new trends together to make it creative and keep it in balance is good points for new fashion.
The brand’s aesthetics pull from Greek and Chinese mythology. There are many references to nature, which can be seen in the peacock and snake brand logo. Beyond that, the designs are a blend of masculine and feminine and refer back to traditional Chinese tunics, Scottish kilts, and 90s American Sitcoms.
Ziyi “Zoe” Yin states that these looks were “refer back to traditional Chinese tunics, Scottish kilts, and 90s American Sitcoms.”
How does your work reference fashion history?
Taylor Alyssa: Because I love 1920s fashion so much, I decided to mash their trends with our own current styles. The 1920s were a time period where women began to wear more revealing, yet glamorous clothing.
While doing research on that era of fashion, I found a lot of deep V-neck dresses, shorter cut skirts, hair and face pieces, and lots and lots of furs, feathers and fringe. However, in their evening wear looks, the women didn’t seem to wear pants often. So I wanted to make some
glam looks but incorporate pants.”
For my first look, I sketched an ostrich feather bandeau with embellished trim, long white gloves, and silky high waist pants with buttons going down entire leg, and a sheer eye piece.
My second look includes a net hair covering, a cropped oversized emerald green fluffy fur jacket, and a sheer tulle mini skirt with emerald and sapphire stones.
My third look I decided to do a deep V-neck ruched off shoulder top, with dark blue high waist fringe pants.
Erin Winward: It relates to fashion history the way the 19 century relates to the corset, as that was the peak when the corset was very popular The flowy streamline flowy garments relate to the 1990-1999. (The)“Mystic” collection explores dynamic assymetrical lines and
silhouettes using a four color palette and a five swatch fabric story, fabrics include jersey knits, lightweight chiffon with added structure from boning. Colors of purple and gray hues work to bring out the fluidity and designs of the garments. Inspired by mysticism and the meanings behind shattered glass, candles, lighting etc...
CNN Editors. “American Style.” Amazon, Amazon, n.d., https:// www.amazon.com/1960s-70s-Born-be-Wild/dp/B07MBW6M56/ref=sr_1_1?crid=2LT7ITII0IR1Z&keywords=american+style&qid=1652772511&sprefix=american+style%2Caps%2C200&sr=8-1, Accessed 17 May 2022.
Edwards, Lydia. How to Read a Dress: A Guide to Changing Fashion from the 16th to the 21st Century. London & New York, Bloomsbury, 2017.
Edwards, Lydia. “How to Read a Dress: A Guide to Changing Fashion from the 16th to the 21st Century.” Amazon, Amazon, n.d., https://www.amazon.com/ How-Read-Dress-Lydia-Edwards/dp/1350172219/ ref=sr_1_1?crid=31BCT7056WGXJ&keywords=Lydia+edwards+fashion+history+book&qid=1652772635&s=instant-video&sprefix=lydia+edwards+fashion+history+book%2Cinstant-video%2C56&sr=1-1-catcorr, Accessed 17 May 2022.
Edwards, Lydia. “How to Read a Suit: A Guide to Changing Men’s Fashion from the 17th to the 20th Century.” Amazon, Amazon, n.d., https://www.amazon.com/How-Read-Suit-Changing-Fashion/dp/135007120X/ref=pd_sbs_sccl_2_1/132-39120358156320?pd_rd_w=JocK6&pf_rd_p=752607c5-f086-4f37-83440c74987ecf68&pf_rd_r=V393CRRSMGCPD720K3E2&pd_ rd_r=95a1a89d-c5e9-4c7b-93fa-f6076ce989d1&pd_rd_wg=9FzKi&pd_rd_i=135007120X&psc=1, Accessed 17 May 2022.
iHeartPodcasts. “Dressed: The History of Fashion.” Apple Podcasts Preview, Apple, n.d., https://podcasts.apple.com/us/podcast/ dressed-the-history-of-fashion/id1350850605, Accessed 17 May 2022.
The Museum at FIT Editors. “Collections.” The Museum at FIT, Fashion Institute Technology, n.d., https://www.fitnyc.edu/museum/collections/, Accessed 17 May 2022
Hallay, Amanda. “Amanda Hallay.” Amanda Hallay, Amanda Hallay, n.d., https://amandahallay.com/, Accessed 21 Mar. 2022.
Hallay, Amanda. “Amanda Hallay (Profile).” LinkedIn, LinkedIn Corporation, 2022, https://www.linkedin.com/in/amandahallay/, Accessed 21 Mar. 2022.
Hallay, Amanda. The Ultimate Fashion History (Channel). YouTube, n.d., https://www.youtube.com/channel/UCjKr2Ro-5X0BM6UptvhWvEw, Accessed 21 Mar. 2022.
‘“Our Vintage Egyptian Adventure’ (Part 1) Getting There,” You-
Tube, uploaded by The Ultimate Fashion History, 12 Mar. 2022, https://www.youtube.com/watch?v=igSamcCLhuU, Accessed 21 Mar. 2022.
Blum, Stella., editor. Victorian Fashions & Costumes from Harper’s Bazar 1867-1898. New York: Dover Publications, 2014. (Page 42).
HBO.com Editors. “The Gilded Age.” HBO, Home Box Office Inc., 2022, https://www.hbo.com/the-gilded-age, Accessed 28 Feb. 2022. (Air time and day).
IMDb Editors. “The Gilded Age.” IMDb, IMDb.com, 2022, https://www.imdb.com/title/tt4406178/?ref_=fn_al_tt_1, Accessed 25 Feb. 2022. (Cast/Character List)
Dorling Kindersley Editors. Fashion: The Definitive History of Costume and Style. 1st American ed., London, New York, Melbourne, Munich and Delhi: Dorling Kindersley Ltd., 2012. (Page 206).
“Never the New.” The Gilded Age, season 1, episode 1, HBO, 24 Jan. 2022. HBO Max, https://play.hbomax.com/episode/urn:hbo:episode:GYZLiygBf4zzDwgEAAAB2, Accessed 25 Feb. 2022.
Ilchi, Layla. “How ‘The Gilded Age’ Addresses ‘Old Money’ Versus ‘New Money’ Through Costumes.” WWD, Fairchild Publishing LLC., 26 Jan. 2022, https://wwd.com/fashion-news/fashion-features/the-gilded-age-show-costumes-breakdown-1235054762/, Accessed 2 Mar. 2022. (Quote and Image).
Soo Hoo, Fawnia. “‘The Gilded Age’ Costumes Are Like a Late-19th Century High-Fashion Street Style Editorial.” Fashionista, Breaking Media Inc. 7 Feb. 2022, https://fashionista. com/2022/02/the-gilded-age-costumes, Accessed 25 Apr. 2022.
Ziyi “Zoe” Yin Launches her First Collection for Zhirou, a Brand that Embodies Diversity
Yin, Ziyi. “Ziyi Yin.” Academy of Art University, Academy of Art University, 2021, https://springshow.academyart.edu/schools/ fashion/students/ziyi-yin/, Accessed 16 May, 2022.
Yin, Zoe. “Zoe Yin (Profile).” LinkedIn, LinkedIn Corporation, 2022, https://www.linkedin.com/in/zoe-yin-85b26b19a/, Accessed 16 May, 2022.
Cole, Daniel James and Nancy Deihl. The History of Modern Fashion. London: Laurence King Publishing Ltd., 2015.
Courcey, Tom. “The History of The Motorcycle Jacket.” Ape to Gentleman, Ape to Gentleman, n.d., https://www.apetogentleman. com/motorcycle-jacket-history/, Accessed 15 Mar. 2022.
Encyclopaedia Britannica editors. “Chain Mail.” Encyclopaedia Britannica, 9 Feb. 2016, https://www.britannica.com/technology/ chain-mail. Accessed 31 Mar. 2022.
Fogg, Marnie, general editor. Fashion: The Whole Story. New York: Prestel, 2013.
Marshall, Shonagh. “A Brief History of The Puffer Jacket.” AnOther, AnOther Publishing Ltd., 9 Aug. 2016, https://www. anothermag.com/fashion-beauty/8951/a-brief-history-of-thepuffer- jacket, Accessed 15 Mar. 2022.
Tortora, Phyllis G. and Sandra J. Keiser. The Fairchild Books Dictionary of Fashion. 4th ed., New York and London: Bloomsbury, 2014.
Vogue Runway Editors. Vogue – Vogue Runway. Condé Nast, n.d., https://www.vogue.com/fashion-shows, Accessed 16 May 2022.
Vogue Runway Editors. Vogue – Vogue Runway. Condé Nast, n.d., https://www.vogue.com/fashion-shows, Accessed 16 May 2022.
Casey, Charlotte. “Collection Review: Women’s Key Items –Knitwear A/W 22/23.” WGSN, WGSN, 28 Mar., 2022, WGSN. com, Accessed 16 May, 2022.
Correa, Ana. “COTERIE & MAGIC NYC A/W 22/23: Footwear & Accessories.” WGSN, WGSN, 8 Mar., 2022, WGSN.com, Accessed 16 May, 2022.
Correa, Ana. “Premiere Classe A/W 22/23: Footwear & Accessories.” WGSN, WGSN, 15 Mar., 2022, WGSN.com, Accessed 16 May, 2022.
Coulson, Clare. “Collection Review: Women’s Colour A/W 22/23.” WGSN, WGSN, 23 Mar., 2022, WGSN.com, Accessed 16 May, 2022.
Perry, Sadie. “Collection Review: Key Items – Women’s Footwear A/W 22/23.” WGSN, WGSN, 23 Mar., 2022, WGSN.com, Accessed 16 May, 2022.
Skliarova, Julia. “Collection Review: Key Items – Women’s Bags A/W 22/23.” WGSN, WGSN, 27 Mar., 2022, WGSN.com, Accessed 16 May, 2022.
Skliarova, Julia. “Collection Review: Key Items – Women’s
Soft Accessories A/W 22/23.” WGSN, WGSN, 23 Mar., 2022, WGSN.com, Accessed 16 May, 2022.
Walters, Polly. “London Women’s Fashion Week: Need-to-Know A/W 22/23.” WGSN, WGSN, 24 Feb., 2022, WGSN.com, Accessed 16 May, 2022.
Walters, Polly. “Milan Women’s Fashion Week: Need-to-Know A/W 22/23.” WGSN, WGSN, 3 Mar., 2022, WGSN.com, Accessed 16 May, 2022.
Walters, Polly. “New York Women’s Fashion Week: Need-toKnow A/W 22/23.” WGSN, WGSN, 18 Mar., 2022, WGSN. com, Accessed 16 May, 2022.
Walters, Polly. “Paris Women’s Fashion Week: Need-to-Know A/W 22/23.” WGSN, WGSN, 9 Mar., 2022, WGSN.com, Accessed 16 May, 2022.
Yiannakou, Laura. “Collection Review: Women’s Key Trends A/W 22/23.” WGSN, WGSN, 17 Mar., 2022, WGSN.com, Accessed 16 May, 2022.
Liberty Gaither on Fashion Capitals on the Rise
Gaither, Liberty. Manic Metallic. Manic Metallic, n.d., https:// manicmetallic.com/, Accessed 17 May 2022.
Gaither, Liberty. “Manic Metallic (@ManicMetallic).” Facebook, Meta, n.d., https://www.facebook.com/manicmetallic, Accessed 17 May 2022
Gaither, Liberty. “Manic Metallic (@ManicMetallic).” Instagram, Meta, n.d., https://www.instagram.com/manicmetallic/, 17 May 2022.
Amanda Hallay Extends the Reach of Fashion History
Jupillat, Alexandra S. “Like Father, Like Daughter?” Fault, WordPress, 4 Aug. 2012, https://fault-magazine.com/2012/08/ like-father-like-daughter/, Accessed 21 Mar. 2022.
Hallay, Amanda. “Amanda Hallay.” Amanda Hallay, Amanda Hallay, n.d., https://amandahallay.com/, Accessed 21 Mar. 2022.
Hallay, Amanda. “Amanda Hallay (Profile).” LinkedIn, LinkedIn Corporation, 2022, https://www.linkedin.com/in/amandahallay/, Accessed 21 Mar. 2022.
Hallay, Amanda. The Ultimate Fashion History (Channel). YouTube, n.d., https://www.youtube.com/channel/UCjKr2Ro-5X0BM6UptvhWvEw, Accessed 21 Mar. 2022.
‘“Our Vintage Egyptian Adventure’ (Part 1) Getting There,” YouTube, uploaded by The Ultimate Fashion History, 12 Mar. 2022, https://www.youtube.com/watch?v=igSamcCLhuU, Accessed 21 Mar. 2022.
Trendscends magazine was created as a final project during the editor-in-chief’s final semester at Academy of Art University, as part of her requirements for receiving a BA in fashion journalism. The work is not a commercial work, and was created for educational, research, and portfolio purposes. It’s creation follows fair-use guidelines.
The social media logos on the back cover and Masthead belong to their respective owners Twitter, Facebook, Instagram, and Meta.
Use the space on this page to draw or write down your ideas for a look that embodies the Trendscends spirit.
Be sure to share your work on Instagram and tag us at @TrendscendsMagazine and use the hashtag #TrendscendsSpirit.
