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TREND F/W 2017



LETTER from the


Hi there! If you’re new to the Trend family, welcome! If you’ve been a loyal follower then I am so happy to see you reading through again. As you can tell, Trend has definitely undergone some major construction and that is because we thought it was time for change. Like all things created and nurtured, this magazine has gone through several phases of student life and a variety of talented, passionate staff members. This being my last year as an undergrad and incidentally as Editor-in-Chief, I wanted to revive and explore what new territory Trend can venture into because life is more than the ordinary right? With a bit of hesitation, I proposed this idea of change to our staff and to my great surprise, they were 100% on board. Trend Magazine has always been about showcasing the brightest students on campus and giving tips on the latest fashion trends. However, we wanted to dig even deeper into not only our own capabilities (whether it be writing, photography, etc) and wants, but also into the minds of students all across campus. We wanted a platform for students to express themselves completely while still being able to collaborate with local boutiques for our fashion shoots. This balance between what Trend contained in its pages previously and our desires for future issues was an experiment that has ultimately offered tons of room for creativity and our individual passions to grow. We’re now featuring guest writers and creatives to fully embrace diversity and represent, to the best of our abilities, all the beautiful minds on our campus. That being said, this issue was definitely not an easy one to put together but we hope that you appreciate all the hard work our staff has dedicated into providing you with one of our most exciting issues yet. We hope that you can be a part of this journey as well by continuing to read and share and perhaps even have your work featured in the next one. Thanks so much and I’ll see you soon.

Rachel Park Editor-in-Chief







& F


or me, fashion and feminism has never really been You feel a certain sense of vulnerability and shame something I thought of or about until I started that washes over you. Though the encounter only lasts researching and writing this article which is strange seconds before disappearing into the distance, the given my keen interest in both. I think this realization is words and the way you feel stick. You no longer feel worrying as fashion is a way people express themselves comfortable in what you’re wearing and itch to get out everyday and feminism is a cause that is threatened of it. If this is how I feel after minor encounters, I can every day. only sympathize with how others feel when they’re made to feel the same or even worse. There’s nothing Being both white and privileged, I’m fully aware my better than the confidence you get with a killer outfit experiences of marginalization particularly in the world and there’s nothing worse than having that confidence of fashion are far removed from the ones other people taken away from you. experience every day. However, even on a small scale, feeling made to feel worthless based on what you’re As a concept, feminism is often difficult to discuss wearing is never nice. I can recall numerous occasions despite its clear definition: equality. Many people often walking down roads at night and even during the day shy away from identifying with feminism because being catcalled by men driving by who made crude of the negative connotations of women it seems to comments about my appearance. Often at these times portray even if they still want and believe in equality between the sexes. I think it’s important to use the my outfits have never been close to revealing.

word not only to recognize and honor the work and they’re being told by their own gender that they’re not achievements many women have fought and sacrificed themselves for. I also think it’s important for women to be able to use feminism and interpret it in a way that feels comfortable to them. Given the large-scale gender inequality we face, no single person can be aware of every injustice surrounding him or her, while simultaneously having the energy to fight every issue. This is why when discussing fashion and feminism it’s impossible to discuss every angle and here’s just a few. I’ve always seen fashion as self-expression. There are no rules that should dictate how a person chooses to dress or what their style should be, yet women are constantly mocked and barraged for our outfit choices. People choose to judge a woman’s sexual character based on what they wear and make assumptions on how cool they are and how they should be perceived. We only need to look at rape defences that claim the woman was “asking for it” because her dress was short to see that women are defined every day by what they wear. I think it’s important for women to feel that they can use fashion to express themselves. Until society sees women as equal and what they wear as a creative aspect of their personality rather than their merits or what they offer to society, feminism is definitely needed. Ironically, fashion which may be seen as one of the main areas that sells out feminism, has this amazing power to influence what women (and men) wear and how they perceive themselves. There has definitely been an increase in the notion of empowerment on the catwalk in recent years, particularly at the Paris 2016 fashion week when we saw Maria Grazia Chiuri, the new artistic director at Dior (and the first female director I might add), use the catwalk to stage her selfproclaimed ‘Dio(R)evolution’. It is important, however, that this use of feminism in fashion isn’t merely a trend, but rather a movement that can actively promote the equality of women and men.

thin enough, not pretty enough, or shouldn’t be wearing the clothes they do? If this age-old problem isn’t going to be addressed, fashion will never be taken seriously in the fight for equal rights. There are also the issues less discussed. Far removed from the high-end fashion houses and glamour are the problems you don’t see when flicking through the rails searching for your new favorite dress: where it came from. Sweatshops and mass-production leads to the obvious exploitation of workers, most of which are women. It’s therefore worth recognizing that buying non-ethically sourced clothing is ultimately ‘unfeminist’ with the notion that you’re buying into a market in which women’s poverty is taken advantage of for the profit of large corporations. Though your T-shirt may say “I’m a feminist” on the front, the fibers which hold it together are supporting the problem rather than the solution. Actions as well words are needed in this instance. I’m not saying you have to stop shopping at H&M, but if fashion is willing to make a difference, you’ve got to be willing to do more than just identify with it.

I really do think fashion has amazing potential with feminism. I wholeheartedly believe women should keep on expressing themselves through what they wear whatever that may entail. At the same time, I also think the industry needs to take responsibility for creating a toxic environment for the female image and actively There are definitely major issues in the industry that promote equality across all borders. No single person still need addressing. At the forefront of which is the can do this alone and women need to stand together to obvious problem of body image. How are women meant further this cause. I think we can all agree there’s space to feel comfortable with their position in society when for feminism in our wardrobes. 6




outfits MIMI & RED


outfit MIMI & RED





Cultural appropriation by Cortni Bardier


lothing has always been a cultural identifier from the beginning of time. Through globalization and advancement of technology, we have been able to experience and witness clothing from different cultures. Because of this, many cultural signifiers in prints, threads, or style have been reproduced and adapted into modern fashion and new trends.

The problem with this is often the very same creators of the clothing are harassed, made fun of, or ridiculed for wearing the clothes in their daily lives. Yet, when duplications of their clothing appears on high-fashion runway or in magazines, it suddenly becomes socially acceptable for others to sport the culturally-inspired gear, without realizing where it originated. When credit or history is not acknowledged, designers, YouTube stars, bloggers, and Coachella goers are praised for starting new innovative trends that have actually been around for a very long time. In addition, people continuously remain prejudiced against the marginalized groups they are stealing the culture from. Power dynamics play an imperative role into this as well. When a dominant group “borrows” something from an underrepresented group that has historically faced oppression and stigma, they are mocking them by co-opting their style and putting a twist on it and calling it something different. This is called cultural appropriation, the adoption or use of elements of one culture by members of another culture. When a dominant group fetishizes foreign culture to be cool, innovative, or edgy, it leads to false history, ownership, and it ignores the history of marginalized peoples: the very same folks they long to brand off of. Appropriation is not a two-way street. A marginalized group cannot emulate the appropriators’ culture due to the fact that Western culture imposes assimilation 13

on outsiders in order for them to survive. Many underrepresented cultures are not keen on opening up their cultures for the world to exploit because they are often mocked and ridiculed for their lifestyles. For example, when black women wear their hair natural, in braids, or dreadlocks they are seen as unprofessional, and in extreme cases, are fired or told to change their hairstyle. Many cultural foods have become deduced to sole identifiers for vast groups of people. Dominant groups also seek to find “ethnic” foods without actually going to “ethnic” communities; instead, they like the hipster versions of pho, tacos, and halal. Clothing, including Dashikis, Bindis, Saris, Native Headwear, and sacred tattoos are duplicated during Halloween time, creating the opportunity for people to market off of oppressed people with cheap versions, for the sake of fashion and to make a superficial statement. The difference with appreciation is there has to be mutual understanding, equality, and respect. It is perfectly fine to like and enjoy things outside of your culture, but please be aware and critical of how you treat and think of people from the same culture you are consuming. When someone understands clothes and symbols are not up for consumerism, and instead recognizes that they are there to learn, that’s appreciation. Some examples of cultural appropriation in popular culture include but are not limited to: cornrows being reinvented as boxer braids by the Kardashians; Karlie Kloss modeling Victoria’s Secret’s Native American head wrap and clothing; and Zendaya being ridiculed for her dreads by Giuliana Rancic on the Red Carpet, although Rancic praised Miley Cyrus and others for doing the same thing.

“The difference with appreciation is that there has to be mutual understanding, equality and respect.�



BREUER UCSD has hundreds, if not thousands, of students who are active in their academic careers and successful in various aspects of their lives. However, it’s not often you stumble into a hidden gem of a student like Celia Breuer. A graduating third year from Muir college studying global health with a minor in african studies and socio-cultural anthropology, Celia has been working on a communitybased project in Kenya since 2014. I had the wonderful opportunity to chat with her about her experience and got to know the genuine passion Celia has for people.

top fabulous rag skirt mimi & red necklace american eagle outfitters earrings siku njema kesho (celia’s community-based organization) photographed by Ed Ngai

It’s a rather sunny fall day on campus when I meet up with Celia on the outside patio near the Loft. She has just walked over from her room in I-House where she works as an intern--fitting for someone who is so involved with international relations. The bright weather makes me squint but not enough for me to dismiss the calm and comfortable manner Celia sits in front of me as I open up my Macbook to take notes. I had only met her once before during the cover shoot, but she makes me feel like an old friend. I turn on the voice recording app on my phone and start the conversation.



rend Magazine: “How did you get started with your experience in Kenya?” Celia Breuer: “I moved to Kenya as a volunteer. I was only supposed to be there for a month in a medical facility before moving to to Tanzania for a month to help out with a women’s organization...I realized in that time that I didn’t agree with the volunteer culture.I didn’t speak the language, have no qualifications in the medical field and was taking away an otherwise paid I ended up quitting all the projects in December of 2013, even though I was supposed to be there for several months. I pretty much didn’t have anything planned for the next year. I really liked Kenya and it just felt right. One of my friends offered me an apartment...and I was kind of drifting for a little bit. Eventually, I got connected with a lady who wanted to start a children’s home and started working on a project proposal with her. Upon meeting the kids’ families, however, we worked with them to figure out a different way to support them. This eventually led to a sponsorship program and we currently support seven children to attend a boarding school. Since then I’ve been learning so much about community development and implications of it and I have begun to problematize the sponsorship program given the resulting dependency. Though we have continued the sponsorships, we now focus on incorporating community members in new project agendas and including them in the funding plans. Ultimately, we are hoping to challenge the structures underlying such projects. It shouldn’t be up to me to make decisions for someone’s kids just because I am paying for their school fees. And similarly, it shouldn’t be up to a large donor agency to decide what is needed within a community. Yet, this is largely how development has worked: it relies on unequal power relations and we now try to deconstruct these in our approaches.

from Germany. She gets sad about it but ultimately she’s very supportive about it.” TM: “Just to backtrack, what inspired you to do this work? Were you always this inspired or did something occur in your life to inspire you?” CB: “Mmm, I guess it all started when I was an exchange student back when I was 16 in the U.S. for five months. Th at was my fir st time living abroad on my own and getting to know something new. I think that was what sparked my curiosity like maybe there is something more than just being in Germany. That just opened up a whole new possibility I guess. In terms of inspirations on working on the project honestly it’s mostly the criticism I have for the field. The structures of development are based on colonial structures and I have a big problem with that. I’m very, very worried about perpetuating these ideas. But what am I going to say, this is fucked up and I don’t want to work on this, or, am I going to try and challenge it, deconstruct it, and find new approaches.”


TM: “What was one of the biggest struggles and biggest TM: “That’s amazing. How often do you go back to Kenya blessings you’ve experienced?” CB: “Beyond the whole self criticism, definitely trying then?” CB: I go back to Kenya like three to four months a year. to sustain myself. I can maybe live abroad for a year--I don’t get paid for the work I do. I don’t want to sustain TM: “Wow actually very often. What did your parents myself through it, that’s very dangerous. Right now say about this whole thing? And not going back home to the biggest challenge is when am I there, when am I here...I want to go back and work there full time but I Germany as often.” CB: “So it’s just my mom and she’s very free-spirited can’t just work on my organization. I have to have a job so that’s encouraged me a lot to do my own thing. Of that has a stable income. At the same time I’m trying course, sometimes I get those messages like why are to figure out if a foreigner should even get a job that you not here given this is my fourth Christmas away someone else locally could get.


fur coat mimi & red dress fabulous rag necklace fabulous rag



cardigan fabulous rag dress fabulous rag


fur coat fabulous rag top fabulous rag necklace mimi & red

I belong.” After talking more about her childhood and life in Europe, I decided to ask Celia about her personal style. It was a bit of a rough segway into the topic but because we had limited time I went right into it. From the few times I’ve met her, I could already tell she has her own defining look and the unique jewelry she always wears TM: “So out of all the places you live and have visited, definitely made me all the more interested… which place has a special place to you?” CB: “There’s a space in Switzerland in the mountains TM: “I was wondering style wise, could you describe your near the Italian border where my grandfather bought a style and what/who inspires you?” really old house when he was my age and it’s been a part CB: “I love sweaters and boots but I think my style of my family every since. There’s no running water, no definitely changes depending on where I am. IT kind cars, very simple. Even though I rarely get a chance to of has to for me to fit in. I think for me, an important go, that space in Switzerland has so much meaning to part of my style is my jewelry because it’s easier to carry me. I’ve brought a lot of people who are very important and easy to wear even if my outfits change. I have a to me back to that house. It’s a space that I’ve been able necklace that I wear every day and other rings because to share a part of my background and my childhood they hold a lot of meaning to me. Most of my clothes that I’ve kind of neglected when I first left. Looking are second-hand as well. I also really like not caring at the rest of my family, even though I don’t see them about what I wear so I don’t limit myself. I also don’t alot, when I see them being there and I know we all have one person that inspires me. I don’t follow blogs feel the same way about it, it’s nice and feels like where or anything. If I see something that I like then I get Blessings: I guess the idea of home being people and all the people I’ve met in various places. Having a family that I connect with in various locations is really nice. If you move around a lot, it’s easy to get lost and not belong anywhere. For me it’s been the opposite because I have such close people everywhere.”


inspired by it.” TM: “ You mentioned you wear your necklace every day. Could you describe it?” CB: “So it’s a Tanzanian shilling that has a shape of Africa cut out of it. and it was given to me by my roommate whom I lived with for nine months in Kenya. I just never took it off ever since she gave it to me. I like it because it’s simple and goes with everything. I also feel like I still am connected to her. All my jewelry feel like they’re representative of all the connections and relationships I’ve built because they were all given to me by special people.” After hearing all about her other jewelry in detail and discovering she also had another love for tattoos (her favorite one is a whale on her back made up of symbols and patterns she’s come across while traveling), I asked Celia what advice would she would give to students interested in her field of work? Would there be anything mental/physical/emotional they should prepare themselves for?

She responds, “I struggle to articulate this because ultimately, everyone’s experience will be different. One thing I would suggest is prepare yourself to question your work and role and embrace that. Thinking critically of this field is the most important advice I can give and something I try to keep in mind constantly. Reality checks are important, especially in regards to your motivations, qualifications and potential impact-why are you choosing to go abroad and work in ‘development’? Ultimately, this work is just like any other field with its ups and downs meaning it doesn’t make you any more or less special than someone working in a 9-to-5 office job for example. I think this field is often misrepresented or imagined as this exclusively positive, ‘saving the world’, ‘sacrificing your lifestyle for something bigger than yourself ’ kind of thing and that’s problematic. Prepare yourself for this challenge and please, please take it on. If no one challenges the field and how it’s portrayed now, what will change? So, I guess, keep an open mind and prepare yourself to question your work. Ultimately, It’s what you make of it!”

by Rachel Park


WHAT IS TOUR MERCH AND Chances are you’ve heard of friends going to Kanye West, Drake and Justin Bieber concerts. Not only have they been going on tour, but these artists have also been busy selling merchandise coinciding with their music. What’s tour merch, you say? It’s just any form of merchandise that’s released around the same time an artist goes on tour or debuts a new album. It takes shape in all forms, ranging from shirts, hoodies, jackets, hats...the list can go on and on. Merch like this has really been capitalized by hip hop artists and rappers. But what is it about artist march that has people going crazy and is it all worth it? Part of the strategy these artists use to generate hype is to create pop up shops that are only open for a couple days. This incentivizes people to get as much merchandise as they can before the shop closes, because once the shop closes, it becomes even more difficult to purchase their products.

Pictures of the lines at these artists’ shows and pop up shops are ridiculously long. One can expect a good 3-4 hour wait for artists like Drake and Bieber, and double that time for Kanye shops. The lines at their concerts are no different either. Expect to get to these shows 2-3 hours before the actual show starts if you want to have a chance to purchase something. Why would anyone be willing to wait so long for these items? A big reason for the success of tour merchandise is the exclusivity one gets when they buy a shirt or hoodie. While most rational people would say lining up for a couple hours for clothes is ridiculous, all common sense goes away when you’re actually near these shops. There’s a weird sense of excitement when you’re in these lines and as you slowly get closer to the entrance. Knowing that you’re buying something most people won’t be able to get their hands on also

D IS IT WORTH IT? provides a weird sense of gratification. Prices for merch are ridiculously expensive. The average price for T-shirts cost around $50 or more, sweatshirts and hoodies can even range from from 70$ all the way to $120. The biggest issue regarding all this merch is whether they are worth the insane price tags. If you look at a majority of the clothes being sold they are just screen printed on Gildan T-shirts. Gildan T-Shirts are known for having low quality cotton and are cheap to print. It costs around $3-4 just to print one shirt. With that in mind the profit margin being made from these shirts is ludicrously high. So is all the money and effort trying to get these clothes worth it? If you ever find yourself in a situation where you might purchase artist merch consider a few things first. Are you actually a fan of the artist? Are you

by Hayden Soria

buying this because you actually like the design of the clothes? Are you buying just to follow the herd and fit in? In no way am I telling anyone how to spend their money. Instead I am just bringing attention to the type of product people can expect when they spend their money on these clothes. Tour merch is a great way for genuine fans to really connect to these artists that they worship so much. Will it die eventually? Yes all trends inevitably do, but for now the hype from artist merchandise does not appear to be slowing down. Be careful if you pay the more expensive price for the sake of authenticity, because it is really easy and cheap to reprint the designs. The frenzy of artist merch has inspired people to borrow the designs being sold. Qias Omar a prominent youtuber is featured above with this own merch that he has been selling at events like Sneaker Con.

The Resurgence of Vintage Denim Culture by Rafii Ramadhan

Lately we’ve been treated to a steady revival of vintage denim culture. Many smaller, independent brands have been steadily pumping out their collections of vintage repro for years. In Okayama, Japan, the love for vintage-inspired workwear is so huge that there’s even a “Jeans Street” downtown. The Japanese brands and mills have perfected the technique of using old looms and dying with natural indigo, a technique that was later abandoned because of its small output and expensive materials. The wave is starting to go global, though, returning back to where the original pair was first conceived: America. So what is raw denim? They’re basically jeans that have been untreated and retain the natural charac-


“The rugged American workwear is making a comeback”

teristics of indigo. Essentially, it’s a reproduction of the early denim making method back when denim was first being transitioned into the staple of American workwear. Before the advances in dye technology, natural indigo had the property of fading off after numerous uses because the dye didn’t bond permanently to the fabric. What started off as an undesirable trait turned into a fashion trend that we see with pre-distressed and torn jeans. The trend is not only on the rise in America but also in Japan, as evidenced by the number of proxy services that offer Japanese denim brands through their online stores (such as The market

for American brands has also been getting more popular, with smaller boutique brands such as 3sixteen competing for a piece of the pie against denim powerhouse like Levi’s, which has their own Levi’s Vintage Clothing (LVC) division that produces historical reproductions of their famous cuts. The resurgence in vintage denim is also accompanied by an interest in vintage workwear and motorcycle-inspired clothing. Previously obscured pieces such as the canvas duck jackets and wabash chore jackets are making a comeback too. Although these auxiliary pieces have made it into a full blown revival, it’s still part of the heritage of American workwear.


CHASE MANA KAI Trend: What inspired you to pursue a career in acting? Chase: “Growing up my mom told me that I should love what I do, it shouldn’t be about money. I took Shakespeare for 8 years. When I had to stop for college I realized I missed it. I was the lead in my high school drama club. I actually wrote two plays: a fictional model and Shakespeare play, but more modern style (medieval way).” T: What type of roles do you prefer? C: “Obviously the main character role or roles where I can be over the top and get out of my comfort zone. I like the role of dying, where I get to die all dramatically.”

T: What is your dream role? C: “ It would definitely have to be a role like Nathan from One Tree Hill! I would love to land a role where it’s a long series like that. Everyone loved him, I wouldn’t be able to do a role like Dan, nobody liked him. I actually watched the whole season in three weeks over summer.”

T: Describe your acting style? C: “It’s me, just me going out and spewing out my personality.”

T: How has your acting experience been? Anything challenging? C: “Yes when you go into a casting you have to memorize a script, it’s like a paragraph off a monologue and you have to memorize it on the spot. I think that’s something I can improve on. I want to be able to go in there and memorize it, so I can add my own twist to it.”

T: Are you participating in any upcoming roles? C: “I have 3 upcoming castings for TV pilot shows. I’m excited but also really nervous. There’s going to be about 100 models and talents.”

T: Any advice to anyone who aspires to become an actor/model? C: “You have to love it, money can’t be an aspect. You do it because it’s what you want to do.”

T: Who is your favorite actor? C: “Idris Elba from the movie Obsessed. He’s the most versatile actor I’ve seen. He’s taken on any role like the antagonist and different ethnic roles.”

T: How does modeling tie into your acting career?C: “I signed to JE modeling agency, which is also a talent agency. I told them that I’m going to UCSD as a linguistics and theatre major and I intend on using my credentials and the agency as basis of my career. Modeling helps get my face out there. I’ve had 2 bookings so far .”

T: What was your first ole? C: “My first role was in middle school. It was so long ago. I think it was a Shakespeare play. I


played Mercutio in Romeo & Juliet. It was my first dying scene.”

Photographed by Kyoko Ishikawa

Q: How did your modeling career start? C: “Its actually a funny story. There was a open call in San Francisco and my mom was like Chase you should go. I got there two hours late. Everyone was taking an intermission. I opened the door for the CEO’s, I didn’t know who they were at the time. They went outside to smoke a cigarette and I was feeling pretty good about myself so I parked up a conversation with them. I made them laugh. After a few minutes they asked who I was and I told them that I was Chase. That’s when they told me they were the CEO’s and I was in shock. They said they really liked my presence and brought me up to do an interview. They welcomed me to the family and

I was signed on the spot. Once I signed, my motivation skyrocketed! It showed me to just go with it! I’m really dedicated to it; I work out 6 times a week.” T: What is it like to manage academics and an aspiring acting/model career? C: “I know how to manage my time with studying for midterms, going to the gym, and being a lead at Audrey’s coffee shop. I know how to prioritize, like that whole masculinity and feminine thing.”

BY Kimberly Del CId 30

precursory a photography project by cristina damse


Precursory is a street photography project that started out from the idea of a prerequisite to everyday life. I am the kind of person that rarely wakes up before sunrise unless I happen to already be awake. Dawn, however, is one of the purest, most creatively stimulating timeframes that I can think of so I got curious as to what San Diego looks like before sun rises. What does this city look like before everyone else is awake? Does it prepare at all for all these people? Are there cars running through the streets? What’s going on in this town before I start my day? What is preceding me? So I got out of bed early one morning and took my camera downtown looking for interesting looking streets and expecting to find this clean, almost fairytale lighting and people – working people, homeless people, or maybe people going home.


What I found instead was a lot of pink and an eerie serenity in the empty city that seemed the epitome of relaxation. People were not on the streets and few cars, if any, were up and running at this time. The moon was giving almost too much light and there was a tightness in the air‌ this sense of waiting, tensely waiting or desperately waiting, but for what I didn’t know. I could feel it in the way the houses were lit and in the faint glow of a forgotten TV in someone’s living room and in the stiffness of these parked cars like they were humming, waiting to pounce, withholding an otherwise imperative heartbeat.

In my mind this was a very impressionistic project in its nature and about an inbetween moment otherwise unseen because it is only ever seen as a transition. Technically, this project is very simple. It is a street photography project so purity, authenticity, unaltered truth is what it’s all about. These shots are long exposures and the only corrections made to them in post processing are cleaning up some ISO dots or digitally erasing some trash from the streets, like a paper cup or candy wrappers. The rest is San Diego sleeping or perhaps waiting to be awoken.



hen we think of people working in the fashion industry, we imagine fashion designers, magazine editors, and models. For many, working in the industry is nothing short of a pipe dream, and those that do find employment are often ridiculed for their part in a “superficial” career. The industry, however, is fighting for its own piece of prestige by mixing the fun of fashion with other careers. Thus, introducing a new career option: Fashion Law. So, what exactly is Fashion Law? 39

It’s easy to imagine two models debating in the courtroom, but it is a lot more suits and a lot less cameras. Essentially, the practice seeks to fight illegal practices that arise in the fashion industry, such as the exploitation of models ( Johnson). While laws have been instilled in the industry for years, it’s only recently that they have been fully enforced. Former law professor, Susan Scafidi, noticed that there were law practices dedicated to sports and fine arts, but none specializing in the defense of the trillion-dollar industry. Like many others, Scafidi was passionate

about fashion, but shied away from publicly announcing this in fear of losing credibility. In 2010, she founded the Fashion Law Institute at Fordham University School of Law in New York where she hoped to establish a new generation of lawyers, who were unashamed of their interest in fashion. The Fashion Law Institute trains law students with an interest in fashion on how to handle legal issues involving the industry. The program is a combination of two majors, and students must provide a strong interest in both fashion



and law if they want to succeed in the field. Classes such as fashion licensing, fashion financing, and employment law agreements are just three of the many options that students can choose from. Graduating from this program gives students the opportunity to become fashion lawyers where they can then provide consultation services to new fashion businesses, or handle legal issues pertaining to fashion. Since the career field is new, many people have questioned the necessity of lawyers specializing

in fashion law. What exactly are they defending in an industry that seems pretty straight-forward; you model for a few hours, then get paid, right? Well, fashion lawyers helped establish the Child Performers Protection Act of 2015 that protected underage models from working long hours with little pay, and being sexualized in fashion editorials. Fashion Lawyers have a duty to enforce legal guidelines that make modeling a safe space for all models to be treated equally and with respect. (McCall).

read Vogue, and Plato, then you might want to consider a career in Fashion Law. The field of Fashion Law is up and coming as many under radar fashionista/ os want to combine their two passions and become professional fashion lawyers.Whether it be helping designers protect their design or implementing laws that protect young models, practicing fashion law is a brilliant and rewarding career that gives you the opportunity reshape the fashion industry.

If you’re someone that likes to

By Lucy Lopez

A Collection of Student Stories & Poems



written by Sarah Wernher The night is swollen. Planets churn And stars whisper Their manifold accusations. I stand. The blood on my hands Is a list of the things I should have done, Or maybe a trace of accidental murder. ‘Out, damned spot’ Someone once said. All my life I’ve sought Redemption, The applause of God. Peering at Paradise Through the needle’s eye. My crime is silence: Insidious cotton coating the tongue. How much like a virtue Is the dissected frog— Broken, Sliced open, Offering its secrets Like an atonement sacrifice. Maybe for you I could live this Formaldehyde nightmare. We could burn the evil From ourselves, Then scatter to tranquil Nowhere, Gorgeous glowing cinders Against the smoke and sky. I love you. This truth will be there When the fires die. Until then Look for me, I will be motionless, Poised as an effigy— Patron sinner of the terrified.


Even By Then written by Sarah Wernher That particular dawn I woke from more than just a dream. You and I had wavered in and out of consciousness and conscience For some time by then; the hours we spent traversing empty seas of concrete Beneath the fragile night were piled up in the corners of our minds In guilty glinting masses of time and distance, stars and silence. For some time by then It had been too late for me. I wanted you in a way That turned hunger into a matter of the heart. I could never find the words to convey In well-behaved euphemisms how viciously I wanted to hurt you and haunt you and heal you all at once, And so there was nothing I could say, even when Your encroaching absence, like a scream in the desert, Began pounding on the door. And yet when I opened it there you always were To bring me back and back again to darkness, Persistent as the winter tides rushing against my skin, to leave me stranded, Laughing, choking, never knowing how even to begin to soothe The aching current of desperation and gut-wrenching joy.


Even by that particular dawn I hadn’t quite figured out what hit me. All I knew was you were gone. There was nothing more that we could do But surrender our nocturnal longing to the unrelenting light. There was nothing more that we could do But stumble home tongue-tied, ecstatic, ashamed. My God, there was nothing left for us to do But ebb from each other, and scatter Like a million marbles into the lonely brightness of morning.

The Cycle written by Maria Omelchenko There is no pain like emotional wounds Those are deeper and have no limit No maximum skin surface to slice through No size, no shape, no length or diameter No clock can predict how long they will last Sometimes they pull you down like invisible chains And you feel a tombstone weigh down your shoulders And no one can make you feel human again You search all over social media For someone to message, someone to talk to You search through your entire contacts list To find broken promises and one sided conversations A silence that grows roots and leaves and budding flowers And suddenly you find yourself in a garden of sorrow Filled with weeds that grow around your ankles You feel yourself merge into the ground And the cycle begins again.


Wrath written by Uma Talagadadivi You are wrath. You are beauty and grace and anger. You

a web, catch a few bugs, and then advance into the

are the frigid air and now chilly water. You are every-

unknown with ease. It has no unachievable dreams

thing and nothing as you submerge slowly, hair rip-

to be burdened by, no mother to ask for it to fall in

pling, body still, a sight of outward peace and compo-

love with a kind soul, no father to ask for it to bring

sure. Yet your heart quivers, your fingers tremble, your

greatness to the family name. The spider crosses the

thoughts waver. The bath was supposed to help control

room; it never questions its journey, never breaks its

your mind, control your emotions, or so you’d promised

stride. You want to ask the spider how it accepted and

yourself as you dropped a bath bomb into barely warm

found its purpose. You want the spider to remind you

water, as you’d untied your hair, as you’d dipped your un-

how to laugh, how to glow with unshed tears of joy,

painted toes into the murky blue sea. Your nose, barely

how to stumble through sentences because you are too

above the surface, is numb enough for you to imag-

excited to be coherent. You want the spider to teach

ine yourself on the streets of Cincinnati, on a typical

you, at the very least, how to keep your turmoil at bay.

autumn evening, watching leaves twirl to the ground. The wind brings along the billow of your neighbors’ You wiggle your toes. They’re wrinkly now. You stare

deep laughter, and your stomach clenches uncomfort-

at the chipping tile, at the moldy edge of the tub, at

ably. But, it is not as though you haven’t laughed since

the dust-lined walls. It isn’t very cold—not to Cin-

you moved an hour away from home. Occasionally,

cinnati standards, at least—but the open window al-

there are flashes of laughter that lighten your heart,

lows gusty outbursts of angry air and your exposed

melt your stomach into butterflies and warm your soul.

shoulders, patterned with water droplets, tremor. Per-

You crave for those days on particularly lonely nights,

haps you should close the window, but that requires

like tonight, as you find yourself wishing to shrink and

movement and you are quite content in the water.

shrink and shrink until you are the size of the spider that has disappeared into a tiny crack in the ground.

You spot a small spider crawling across the weath-


ered tiles and wonder at how happy it is as it fulfills

You crave for a soul to blanket yours in love, share in

its place in the world. Like Charlotte, it will build

your solitude, keep you from drifting into nothingness.

Your friends from high school have adjusted well, find-

know that this is not true; spiders exist everywhere.

ing people they relate with perfectly; you met up with them a few hours ago and now you wonder how they

You have an intense desire to splash the water, or sob

found themselves in three short months while you’ve

hysterically, or scream at the top of your lungs. You

meandered away from everything you’ve ever wanted.

want to make a mess. You can barely feel the cold

Loneliness and fear have shrouded you so that you

now and you tremble not because of the cool wa-

second-guess everything and worry about anything.

ter but because of anger and disgust at yourself. You feel sick, sick of your tendency to drown in anxi-

And yet, you cannot pretend that you have not found

ety. Tired of your endless pessimism. Exhausted.

anyone; you enjoy the company of the people you share a bathroom with, the girls that you are now com-

You stop your nails as they begin to dig deep into the

fortable enough to share secrets with. And it great-

palms of your hands and instead, lightly trace a finger

ly angers you that you have found friends and still

along the surface of the blue water.You want to be relaxed

feel so alone and lost and hopeless. Why can’t you be

and sure of your future. You want to exude confidence.

happy with what you have? Why can’t you adjust the

You want to be in control of your life but you can feel

way that everyone else has? What more do you need?

yourself slipping away into the oblivion of confusion.

You’ve never been to Cincinnati, or Ohio, or any place

You want the world to pause, for the earth to stop its

near it, but you imagine it to be an urban metropo-

ceaseless spin around the sun so that it can take a deep

lis not unlike the place you now call home, only with

breath. So that you can breathe. But the world cannot

colder weather. You wish you’d left your safe bub-

stop its course and neither can you. So you take a deep

ble, traveled away from the sunny beach you know

breath and unplug the drain. As the water slowly re-

so well to an unknown place with unknown faces;

leases you from its icy hug, you rest your head against

perhaps then you wouldn’t dream about becoming a

the wall and imagine your thoughts emptying your

spider as you take a cold bath on the third day back

brain and drowning slowly in the vanishing water.

home since the beginning of September. But you





EDITOR-IN-CHIEF ASSISTANT EDITOR-IN-CHIEF year: senior year: senior major: political science major: communication & business minor

FINANCE DIRECTOR year: junior major: mathematics-cs

WRITER year: senior majors: economics & philosophy

MARKETING ASSISTANT year: junior major: management science & business minor

WRITER year: senior major: political science

MARKETING DIRECTOR year: senior major: international business

MARKETING ASSISTANT year: junior major: communication

PHOTOGRAPHER year: junior majors: ecology, behavior and evolution (EBE) & media

STYLIST year: senior major: political science

APPRENTICE year: sophomore majors: communication & global health

GRAPHIC DESIGNER year: senior majors: international business & management science

STYLIST year: junior major: mathematics-cs

APPRENTICE year: sophomore major: political science

GRAPHIC DESIGNER year: junior major: computer science

STYLIST alumni major: biochemistry and cell biology

PHOTOGRAPHER year: sophomore major: communication & critical gender studies

GRAPHIC DESIGNER year: freshman major: biochemistry & cell biology


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