STÍL 03

editoral team

A letter from your Editor

I find it hard sometimes. I find it hard sometimes to get out of bed. I huddle underneath the warmth of my duvet, unwilling to forgo its comfort. I sink deeper into my mattress, revelling in the isolation of my dark room. The fear of missing early-morning lectures drags me out, planting my feet firmly on the cold linoleum floor. As I pry my curtains open, sunlight floods in, reminding me that I must brace the rain, and the people, and the to-do lists.

I get sad sometimes. I get sad sometimes and it’s hard to get out of bed.

I often think of how much easier it would be to stay inside, safe from inevitable anxieties. But that isn’t living, it’s hiding. So I get up and look for happiness in the simplest of places. I light my candle, shuffle my playlist, and open my wardrobe. Some people say daily mantras in front of the mirror, whispering that they love themselves and that they are kind. I slip on my favourite skirt to tell myself that I am worthy of feeling good today.

I’ve always struggled with body image, unable to come to terms with my own reflection. Some days are better than others but the bad ones seem everlasting. My insecurities come like waves, washing over me and dragging me down. I’m hit with the urge to be alone, safe from the eyes of strangers piercing my skin.

Fashion helps me feel more comfortable in my body. It may seem shallow to some but it is integral to my happiness. I start my mornings with an act of self-love by carefully choosing an

outfit that makes me feel good. With every layer of clothing, comes a new layer of confidence, making it easier to look in the mirror again. I feel the sadness slip away and find myself admiring the person looking back at me.

I remind myself that a body is not a pretty thing to be dangled and desired. A body is just the vessel through which we move through life. I don’t have to love every inch of my skin but I can love every scarf, cardigan, and dress that I own. I love my legs because they help me run but I love my jeans because they are the perfect shade of blue.

Fashion has taught me to be kind to my reflection. Fashion has taught me to love myself again.

I didn’t think I would ever write this kind of letter. I planned to speak about a more palatable version of my story. How I sat on my mom’s bed, watching her try on beautiful silk blouses and fastening her stilettos. But that wouldn’t be my truth. That wouldn’t be the message of STÍL, to be authentically you.

Issue 3 is here to build on the foundations laid by the brilliant creatives of past editions. We are diverse, sustainable, and looking to tear down the fashion industry that came before us. Our mission is to counteract the ugly narratives of the magazines we grew up with. We embrace who we truly are, and encourage you to do the same.

When you flip through the pages of this magazine, you will hear from students that speak from the heart. They don’t shy away from issuing death warrants to trends or shutting down the romanticisation of body types. Our writers will force you to face the ills of the industry

from cultural appropriation to political propaganda, and Western beauty standards. STÍL is a platform where we can rewrite these harmful fads of the past.

In their place, we encourage you to experiment, express, and discover your fashion identity. Whether you do this at raves, concerts, or through the halls of UCC is your choice. We stay true to our celebration of this vibrant university by capturing eclectic styles that can be seen in our Fernie’s Madness photoshoot, filled with all the grit and grime of youth. We juxtaposed this with the prep-inspired Campus Core shots to convey the beautiful contrasts of student life.

Every detail of this magazine has been carefully curated by the most dedicated team I have had the pleasure of knowing. Their creativity has brought what once seemed like wishful thinking to fruition. I cannot thank them enough for the sheer dedication and raw talent that they brought to the table.

Legrá, SarahKennelly(she/her)

WelcometoSTÍL.

A letter from your Vice-Editor

I’d be lying if I didn’t admit that I was gripped by the cliché dream of being a fashion designer as a child. Sitting in my room, pairing dark-wash denim jeans with a pink sparkly jumper, and considering myself the new Alexander McQueen, are the cringeworthy memories of my passion for style.

As I grew older and immersed myself more in the culture of fashion, I realised there were far more avenues available to delve into than just design. This is where my new dream begins: Vice-Editor of UCC’s Fashion Publication STÍL Magazine, and what a dream it truly is. Through all the long hours of editing, layout briefings, Pinterest scouring, and the difficult task of choosing a cover (one thing you need to know about me, is that I am highly indecisive), all was worth it to see this amazing issue come to fruition.

However, this brilliant issue with its gorgeous vintage aesthetic and fantastically written articles, would not be possible were it not for the most dedicated and hardworking team I have ever had the pleasure of collaborating with. Our cohort’s rapport was immediate and authentic, leaving me excited for our Tuesday morning meetings and eager to attend the next one as soon as the last one had ended.

The passion each of our team members has for fashion and our core values of inclusion and

diversity in the fashion realm intertwine every page of our publication. We are so committed to these values that STÍL Magazine will publish two publications this academic term, allowing us to showcase even more amazing writing, photography, and poetry to our fashion-obsessed audience! From the insightful articles surrounding accessibility within the fashion realm to the immersive world of rave culture; Issue 03 of STÍL Magazine will have you begging for more. I can certainly attest to the fact that the publication will be given pride of place on my bookshelf.

On a final note, I would like to express my sincerest gratitude, not only to my amazing colleagues but also to our extended team of talented individuals who allowed our vision to become reality. To all of our remarkable photographers, writers, models, and poets; thank you for allowing us to display your creativity and talent through the pages of STÍL. None of this would have been possible without you.

Through trials and tribulations, the commitment of our team prevailed, producing a spread of incredible passion, drive, inclusivity, and ambition. We hope you are as enthralled with every page as we all were.

A letter from your Creative Director

Okay, and… breathe! These last few months working on Issue Three of STÍL Magazine have been a complete whirlwind. When I sat down for the first time I had so many ideas and dreams for the creative vision of this magazine, and I’m so proud of what we produced!

I envisioned it to be where Stranger Things meets Gilmore Girls meets Skins; an eclectic art sketchbook with a dash of minimalism; clean with creative details; perfectly imperfect.

I am so unbelievably proud of our whole team and what we have managed to do with this issue. From the get-go, we were all on the same page; we wanted to create a fashion magazine that showcased UCC students, that was sustainable and ethical, and that was inclusive & did not perpetuate harmful stereotypes and standards. We wanted the magazine to be creative and unique, a place where anyone feels comfortable expressing themselves. We endeavoured to ensure that we made something that was beyond trends and dug into the depths of what fashion means to us.

When I made the personal choice to stop buying fast fashion I think my style and my creativity in clothing became

so much stronger. Like many of us, I used to hide behind trends and clothing that wasn’t truly representative of me, in an effort to not draw attention to the fact that I felt like I didn’t fit in. But I have discovered that I love colour and fun designs, and getting to express my personality outwardly is something that brings me a lot of joy. I really wanted to show in this issue that you can make amazing outfits with slow fashion! That is why for both of the photoshoots in this issue we only featured sustainable clothing: picked from the committee’s and models’ own wardrobes (cause what’s already in your wardrobe is always the most sustainable choice!) or second-hand/vintage brands. I would encourage you to start looking at clothing and fashion differently, and truly dig into what makes you happy!

Working on the photoshoots was a bit of a baptism by fire, there were many hurdles we had to overcome and I was running around like a headless chicken for a couple of weeks! Despite that, it was such an amazing, fun experience, and seeing everything come to life in front of my eyes was incredible. The photoshoots would not have come to fruition or been

as amazing as they are if it were not for Sophie, our amazing Creative Assistant. Their support and ideas were always outstanding! I also cannot thank the photographers, makeup artists and models enough for making my visions come to life. You are all amazing, hardworking and so talented!

I hope you enjoy reading this magazine as much as I enjoyed creating it. These pages are filled with love as well as blood, sweat and tears, and I wouldn’t change it for the world.

Legrá, ErinO’Leary(she/her)

A letter from your Communications Coordinator

Dear readers,

A quick hello to say thank you to everyone who was involved in this issue of Stíl. It’s been so much fun throughout the process to see the magazine come together, thanks to our amazing team and most importantly our committee!

Watching the movie ‘The Devil Wears Prada’ as a child piqued my interest in the fashion journalism world, and I have always wanted to be part of a fashion publication ever since! I have loved having the opportunity to be a part of creating this issue and being able to combine my interest in fashion with

social media. As a newer publication, it has been exciting to help share who we are, and we are so grateful the interest has been skyhigh this semester. Check out our Instagram @stilmagazineucc for updates on next semester’s issue!

I hope you enjoy each and every page.

LotsofLove, CiaraMcKeon(she/her)

Hello everyone!

A letter from your Designer

I’m currently writing this hours before I get a flight to Hamburg so i’ll keep it short! I’ve loved fashion since I was old enough to understand what clothes were so of course I’m so thankful to have worked as this magazine’s designer. I had a great time using the magazine as a creative outlet for myself and I hope I was able to bring these articles to life on the page to keep you all turning to the next !

Enjoyxox

AoibhFoynes(she/her)

by Claire Watson

Death to

These are the words of Mandy Lee (@oldloserinbrooklyn on TikTok) that inspired this article. It’s no secret that the trend cycle is getting faster than ever. The rise of short-form media such as TikTok has meant the turnover of what’s trendy has accelerated at a colossal rate. Once upon a time, the trend cycle operated on a 20year rotation; the late 2000s saw neon-coloured leggings inspired by the 80s; the 90s saw floral maxi dresses inspired by the 70s, and so on and so forth.

This is no longer the case. The acceleration of the “micro-trend” is unlike anything we’ve seen before. What exactly is a micro-trend? According to Goodonyou.eco: “micro trends take what you know about trends and accelerate the process: these trends rise to popularity quicker and then leave the trend

cycle faster. While traditional fashion trends typically last a few years, ‘micro trends’ life spans are shorter, with some lasting less than one season.” When I think back over the last few years, I can think of mi cro-trends inspired by almost every decade of modern fashion. We’ve seen everything from corsets to low-rise jeans, from maximalism to minimalism, from bimbo-chic to old-money aesthetic, completely grip the internet. Quite literally, everything is back, all at once, from the 1910s to 2010s. We’re even seeing skinny jeans come back into fashion with the rise of the “Horse-Girl” aesthetic (picture jodhpur-inspired pants tucked into riding boots). De spite the aesthetic being dubbed “cheugy” at the beginning of the pandemic. So, what does this mean for the future of fashion? It all de-

pends on how consumers react. If we follow this current path and continue to see $500 hauls from Shein, the waste generated from the fashion industry would be disastrous. With “fast- fashion” already known as one of the biggest polluting indus tries, this rapid trend cycle and clothing waste would lead to “doomsday”.

However, there is another possibility that is a bit more hopeful. Mandy Lee’s running theory is that “we will reach a point where there are so many micro-trends, they will be impossible to identify, thus imploding the trend cycle as we know it, and personal style will reign stronger than ever.” If this happened, this could help slow an industry that is unsustainable in both its growth and climate practices.

If I recall my childhood and adolescence, personal style was few and far between. Hollister tracksuits and McWilliams sailing bags were absolute essentials, as were Topshop Joni jeans. If you strayed from this ‘social norm’, you automatically stood out. I quickly found this out when I green-dip-dyed my hair at 14 and was labelled a goth. I spoke to my mother about trends when she was a young adult. She remembers the arrival of Benetton and the grip it had on style for several years. She recalls how there was a definite colour of the year, homogenised across all shops, and how one year it was purple, which she

despised as it was the colour of her school uniform. She claims “There was only ever one style of jeans in fashion at a time, and only that style was available to buy. It was either bootleg, drainpipes, bell bottoms, or wide-leg depending on the year, but never really more than one style.” This comprehension of the word “trend” is worlds apart from the state of fashion today. I’m not sure if there is a style of jeans which isn’t “in” at the mo ment. And, perhaps, that is a good thing. I do believe, like Mandy Lee, that we are seeing more unique personal styles

“Clothing production is the third biggest manufacturing industry after the automotive and technology industries. Textile production contributes more to climate change than international aviation and shipping combined”

(House of Common Environmental Audit Committee, 2019

emerge than ever before. I think the average person is pushing the boat out a little further with their outfits and choos -ing an aesthetic that appeals to them. It is hard to say whether we’ll soon reach the phase of the trend cycle “imploding”, but I think even a short walk around a college campus will show you that there are many people authentically expressing themselves.

The rate at which we are consuming fashion right now, however, simply cannot last. If we continue to treat clothing like it is disposable, the effect will be catastrophic. How do we end this manic trend cycle? Dress how you want. Know your own style. Figure out what you are most comfortable in and what is a true reflection of your personality. You don’t have to become a minimalist or have a capsule wardrobe. You don’t have to apply Marie Kondo’s organisational methods to everything in your wardrobe. Just be considerate with your purchases and forget about the trends. We are always going to be inspired by others, but it is knowing what and who inspires you that can make all the difference.

The Culturally Appropriative

by Elizabeth Kelly

Cultural Appropriation is a term that was coined by academics in the 1980s and has increased in popularity since. The term refers to “the inappropriate or unacknowledged adoption of elements of a culture or identity by members of another culture or identity”. Although cultural appropriation happens in every creative industry, it is highly prevalent in fashion. The increasingly fast-paced nature of the trend cycle is making this issue ever present.

Recently, trends have been having shorter and shorter lifespans. This phenomenon has led to the creation of “micro-trends” that don't seem to last a season. Influencers are major contributors to this unsustainable lifestyle and encourage their followers to keep up. This makes it extremely profitable for them but also for the businesses they advertise so frequently. The power for trend-setting no longer lies in the hands of fashion houses but in the hands of online creators who can’t be held accountable.

However, not everyone can be an influencer. To set themselves apart from the hordes of other people on TikTok and Instagram, content creators need to be fresh and exciting. They have to be adding something different to the conversation rather than blending in with the troves of other aspiring influencers. Many past trends like Y2K enjoy a resurgence in a bid to go against the grain of 2020s fashion. However, some influencers are going one step further and drawing on cultures that they have no connection to, to stand out. Mainstream fashion has long been dominated by the white, western influence but it has also consistently stolen ideas from other cultures rebranding it as edgy. Apparently, the easiest way to offer something new to the world of fashion is to take something that is not yours.

That being said, the prevalence of cultural appropriation is not wholly due to the humble fashion influencer. Huge fashion houses have been using elements of other cultures to shock and intrigue their consumers for a long time. One great example is Marc Jacobs, who styled white models such as Gigi Hadid and Kendall Jenner with dreadlocks for New York Fashion Week in 2016.

Celebrities also adopt this marketing strategy, the most famous example being Kim Kardashian. She is routinely criticized for her distasteful fashion choices in the press. From Fulani braids to traditional South Asian and Hindu dresses, she takes from other cultures what she pleases. Even when she is confronted with the error of her ways, she remains ignorant of the pain cultural appropriation causes. We saw this when she originally announced her shapewear line with the brand name KIMONO. It caused #KimOhNO to become a trend on Twitter and eventually led to her renaming it SKIMS.

What seems most reprehensible about the existence of these culturally appropriative trends, is their recurrence. The trend cycle seems to be one that allows cultural appropriation to repeat itself. Why can’t we learn from our mistakes? We’re all aware of the headlines the Kardashians make when they steal from yet another culture but why don’t we listen? We keep having the same conversation without making any progress.

Some will argue that cultural appropriation is not real, or if it is real, it is not as big of a problem as the media make it out to be. In fact, Marc Jacobs initially dismissed any accusation of cultural appropriation as “funny” and said that he does not “see colour”. In her speech on cultural appropriation, Lionel Shriver, (author of We Need to Talk about Kevin) argued that it is natural to appropriate cultures and if we stop this it will stunt our creativity. Can the same be said about fashion? Is the fashion industry a worseoff place if we do not borrow from other cultures? I don’t believe this. Shriver and Jacobs’ culture is not represented by someone who knows nothing about it. They are both privileged white people who live in a world that uplifts their Western heritage whilst vilifying those they steal from. They will never understand what it is like to have your culture misrepresented by someone who thinks it’s a trend. It doesn’t stunt creativity, it robs people of their voice to speak about their own heritage. We must let people highlight the beauty of their own cultures because fashion is most impactful when it uplifts the voices who are often left unheard.

by Lisa Reddy

Heroin Chic is one of the most problematic trends to hit the fashion scene. It came alive in the early 90s as a way to rebel against the healthy and vibrant aesthetic of the 80s. It acted as a creative outlet where “outcasts” and “social rejects” could feel more welcome amid unattainable beauty standards. However, this somewhat wholesome movement was quickly tainted by fashion designers and models who

took it to the extreme. It glamorized the appearance of thin white bodies and romanticized the hollowed under-eye look. This was embellished by messy hairdos, dark makeup, and androgynous clothing. Kate Moss was dubbed as the perfect “look” for this trend and quickly became its poster girl.

The name Heroin Chic is just as problematic as you might think it is. The aesthetic imitated the appearance of drug addicts who suffered from severe weight loss. Gia Carangi, an 80s supermodel who was addicted to heroin, became the idol for this look. Gia’s waif-like figure became the ideal body type and many models were encouraged to imitate her. This would push the already unrealistic body standards of the fashion industry to a boiling point. It would ignore Carangi’s tragic death which resulted from her intravenous drug use and idealize her illness.

unrealistic

ginalized

ina like Jaime and

The popular look of the 90s was extremely damaging to the population, especially young women and marginalized identities who didn’t fit the beauty ideal which was white, thin, and feminine. It insisted that weight loss equaled beauty and encouraged the masses to maintain an underweight body. Many models developed life-threatening mental and physical illnesses as a result of the immense pressure put on them by fashion creatives. This would have a very strong impact on young impressionable teens who idolized models like Kate Moss and Jaime King. They became infatuated with this body type and

Kate Moss

didn’t understand the long-term effects that would ensue in their race to achieve it.

One of the most horrendous parts of the Heroin Chic trend is its glamourization of drug abuse. It was widely known that professional models during this era were often addicted to drugs and alcohol. People began to see this lifestyle as a fashion statement rather than a serious illness. However, it was not just the public who was romanticizing this but the fashion designers too. Brands like Andrew Grove used drug use as a marketing tactic in fashion campaigns such as the 1999 show “Cocaine Nights”. It became normalized for these businesses to profit from the painful illnesses they pressured many of these models into having.

Heroin Chic may not thrive today as it did in the 90s, but we have seen different variations arise in our culture today. Unfortunately, trends tend to have a cyclical lifespan, coming back 10-20 years later. Ketamine chic is like a modern adaptation of Heroin Chic. It is centered around emo looks that are bold and usually accessorized by an Elf Bar.

The fashion industry has not learned its lesson and is pushing this style in many of the same ways as it did before. Although Ket-

amine Chic is argued to be less toxic than its 90s counterpart, it can bring up many of the same issues glamorized in the past. Similar to the way Heroin Chic began, it is about dressing in a way that is true to yourself rather than modifying your body to fit the mold. This might help to diffuse the body issues perpetuated in past fashion trends.

It is becoming more obvious to many people that body styles and shapes have been trending for as long as beauty standards have been in place. There is no fixed standard, it is ever-changing so we consistently feel self-conscious. However, as we move away from the ideal of being tall, blonde, and skinny, we become more accepting and appreciative of all body types.

Ketamine Chic may not intend to fuel unrealistic body expectations, but it does not come without fault. Unfortunately, the problem of idealizing drug abuse is still prominent in this trend. Using the word “Ketamine” to identify your aesthetic idealizes drug use. Many influencers are openly claiming this style as their new persona, unaware of how harmful it is. A fashion trend should never promote drug use and we should refrain from this, especially when so many impressionable young people are watching. Likening your style to that of drug users is incredibly classist. Drug abuse is a serious issue and romanticizing it to portray an aesthetic is not something to be proud of. Don’t get me wrong, I 100% support people expressing themselves the way they feel best represents them. The more uniquely you do this, the better. It creates all different kinds of styles for many identites. What I think is important to recognize is how fashion trends can cause problems for our mental and physical health. You could be thinking: “What’s the big deal? It’s just a trend.” but when fashion starts to glamorize illnesses for profit, it is much more than a trend.

A guide to creating a

Capsule Wardrobe

By Juliette Couvreur

What is a capsule wardrobe?

A capsule wardrobe is a little collection of basic clothing items and timeless pieces that everyone should have in their closets. It takes time to build and tailor your capsule wardrobe to your required needs and personal taste. It is important to remember, when creating your capsule wardrobe, begin with the basics; a white shirt, blue jeans, a pair of white sneakers, and a sweatshirt are great examples of key pieces you can use. This guide aims to give you some inspiration to those struggling to build their dream minimalist wardrobe. However, it is important to note that this is just a guide. There is no one size fits all approach to personal style. Use your capsule wardrobe as an opportunity to let your personality shine!

What is the purpose?

Creating a capsule wardrobe will give you endless outfit combinations that can help save your pocket. This guide will show you how to add some staple pieces to your wardrobe so you can pair any item of clothing to make an unbelievable outfit! It can also help declutter your wardrobe, leaving you behind with just your favourite pieces.

How to create your capsule wardrobe:

First, you must find the style you want to emulate. Your capsule wardrobe should reflect your own fashion identity, not someone else’s! If the style you create is not portraying your personality, you will have a capsule wardrobe that won’t fulfil your needs. You have to ask yourself: “what kind of clothes do I want in my outfits?”. Decide whether you love basics, avant-garde, or vintage. Personally, I love vintage yet elegant pieces in my capsule wardrobe. I like to play around with timeless pieces while staying casual and practical (comfortability is key!).

It would be wise to add some of your favourite pieces of clothing, that you find yourself wearing again and again. It is important that you don’t feel restricted when you’re making a capsule wardrobe, play around with fun items too! Allow some personal flare to blend with more practical pieces. Your style should be a reflection of who you are, not just what is most comfortable.

Calling all the Basics!

Basics are a crucial step in creating a long-lasting capsule wardrobe. They help to build outfits that will fit with anything in your closet. For instance, having jeans or leggings that you feel comfortable in and that fit you well is a must. A plain t-shirt and a white button-up will pair nicely with almost every outfit. Wearing a t-shirt and classic denim jeans can never go wrong. Cosy sweatshirts or jumpers will also be good to invest in as a layering piece with your capsule wardrobe. It could be a good idea to invest in altering some items in your closet to fit you perfectly too. Try going into your closet and picking out a skirt or dress that doesn’t fit you right. Bringing this to the tailors could help make it into a staple piece. Accessorising is also a key part of the capsule wardrobe, it’s not all minimalist! Finding shoes that go with every outfit will make it just that much easier to get dressed in the morning.They can be comfortable for all occasions but still make you feel confident when you wear them. For many Dr Martens are the perfect shoe but others might stay loyal to Converse. The choice is yours! Next, add some timeless pieces of jewellery like plain silver or gold bangles that will never go out of style. Once you feel like you have created a wardrobe that reflects your personality and is practical yet timeless, you’re finished!

How is it sustainable?

If a capsule wardrobe is going to work, you have to wear the pieces time and time again. You might be worried about wear and tear but there is an easy fix! Going to your tailor to fix small holes or stains is a lot cheaper and sustainable than buying new clothes. I recommend that you save up and invest in pieces of clothing that are well-made and good quality fabric. This will help to prolong the lifespan of your capsule wardrobe. It will also help you move away from fast fashion and towards slow fashion which is better for the planet. Remember quality over quantity!

Final advice!

I recommend that you choose a colour palette before starting to create your capsule wardrobe. Find the colour that is most dominant in your style and adapt your choices accordingly. For example, if you wear mostly earth and neutral tones, it would be more suitable to tailor your capsule wardrobe to this palette. Providing yourself with a benchmark step to work from can also relieve some of the indecisiveness when it comes to sorting through mountains of clothing items! Sorting through items you no longer deem suited to your personal style is a great way to aid in sustainable fashion. Consider selling your clothing to those who would treasure it, or even donating some items to your local charity shop, or humanitarian association. Feeling a little daunted by the capsule wardrobe? Don’t know where to begin? Take some inspiration from the Autumn/Winter 2022 upcoming trends. According to fashion magazines, as well as recent fashion week runways, the trends which seem to be on the horizon consist of knitwear, blazers, and anything oversized. The colours that we’ll see the most this Autumn are some bright 80’s-esque colour palettes such as pink, green, or orange.

Photographer:MaxBell Makeup:LucreciaLuna Models: Matteo Ferrari Camille M SarahO’Shaughnessy

Making Room for

By Kaitlyn Marie McNulty

AccessibleFashion

We live in a society where people have needs and abilities that vary greatly. It is vital that we work together to ensure this world is as inclusive as possible for everyone. In recent years, changes have been made in many fields to promote and establish inclusivity. The rapid growth of technology has acted as a catalyst for creating a world that is more hospitable to marginalized identities. However, like always, fashion seems to be the industry that is progressing the least. Recently, many brands have been trying to combat this by making a commitment to accessible fashion.

This category of clothing is typically referred to as “adaptive fashion.” It can be described as clothing that blends style and function to make it easier for people with disabilities to get dressed. Pieces that may fall within the category of adaptive fashion include front hook bras, laceless shoes, and magnetic closures in place of buttons; these are just a few of the many items that may make the lives of differently-abled people a bit easier.

It’s also important to recognize that people with physical disabilities aren’t the only ones who need access to adaptive clothing. In some cases, neurodivergent people may require sensory-friendly clothing. This means that certain fabrics or

materials can cause irritation or distress, making other materials more desirable for the wearer.

Some larger and more popular brands have started to produce adaptive clothing. Stores like JCPenney, Adidas, and Nike have all introduced adaptive fashion pieces. Nike, for example, released a shoe called the Flyease, which allows the wearer to step into it without the use of laces. Nike released this shoe after receiving a letter from Matthew Walzer, a boy with cerebral palsy. He told them: “My dream is to go to the college of my choicewithouthavingtoworry about someone coming to tie my shoes every day”. After receiving this letter, engineers at the company were moved and worked together to create the groundbreaking Flyease shoe.

However, big-name brands are not the only ones to produce adaptive fashion. There are also many smaller companies that are paving the way for more adaptive designs. Designer Vongi Noreen Ruziv, whose company is based in Paris, France, aims to create clothes that are sensory-friendly. Growing up with siblings who have Autism, helped her to understand the importance of inclusive clothing. The brand offers clothing with magnetic snaps and accessible wrap-around details.

The brand Comfort Clothing, which is based in Kenmare Ireland, also makes it their goal to create clothing that works for people with varying needs and abilities. Their clothes are designed to make getting dressed easier for people with reduced mobility, reduced shopping opportunities, or those recovering from surgery.

Adaptive fashion is slowly yet steadily emerging into mainstream fashion, and it must continue to do so. Both large fashion houses and smaller brands who contribute to the output of adaptive fashion are helping to make the world we live in a more inclusive place. Fashion isn’t something that should pose limitations on anyone. It should be a way for us to express our identity freely without having restrictions on what we can and can’t wear. Functional clothing should be something that every brand works towards, so their pieces can be worn by people of all abilities.

T H E IS

P O L I T I C A L

Although Obama didn’t intend to make a statement, some other representatives do. At this year’s Met Gala, Alexandria Ocasio Cortez wore her infamous Tax The Rich dress. While people criticized this outfit as performative activism, she achieved exactly what she wanted; controversy. It sparked conversation on the ever-growing wealth gap in the world that is constantly being ignored by the media. Countering this, Lauren Boebert sported a red dress with the mature slogan of Let’s go Brandon, a disguised message that is supposed to insult Joe Biden.

ByLukeO’Connell

Politics and fashion may seem vastly different, but, in fact, they have a lot more in common than one would think. They both allow an individual to express themselves and establish an identity unique to their values. Much like politics, fashion affects every detail of our lives. When we decide what we wear every morning, we make a statement. Whether that statement is “I want to be comfortable” or “I want to turn heads” depends on the individual person. For politicians, this choice is often more precarious.

Elitism has always been intertwined with politics and fashion. Many of our own TD’s have openly criticized the dress sense of certain representatives, perpetuating an image of how a politician should dress. The likes of Luke Ming Flanagan and

Richard Boyd Barrett have often been criticized for the lack of professionality in their outfit choices. This led to the introduction of a motion that would require male TDs to wear a suit jacket. Naturally, there was outrage to this classist proposal, and it thankfully failed.

The Dáil is not the only place where this sort of ridiculous commentary takes place. Fox (Entertainment) News, a bastion of “unbiased” reporting often heckles politicians who break the mould. Who can forget Obama’s tan suit controversy which spurred headlines condemning his fresh sense of style. Many were outraged by the “lack of seriousness” displayed by the president who is supposed to be a hypermasculine idol. Why should commentators and other politicians be so concerned about the outfits of our public representatives? Why aren’t they ever as concerned about the real issues, like how effectively they are doing their job?

However, some politicians can also use clothing as a political tool of propaganda. We need only look at Michael Healy-Rae, the paddy-capped ordinary man (who is worth €13 million) or his brother with the Nokia ringtone disturbing the Dáil. The Healy Raes have made their working-man stamp on Irish politics. I recall the statements made by Duncan Smith who excoriated the Healy Rae’s for playing an act as some sort of caricature as they rolled into their construction sites in their Mercedes. The Healy-Raes are known across the country for their rural innocence. Once again, this distracts from the crucial matter of how they do their job. Smith was rightfully offended by their lack of empathy towards welfare recipients and gave a passionate speech in the Dáil that exposed the toxicity of their images.

There has been a push-back against these deceptive political costumes, especially, in the midst of the rise of the far-right. Donald

Trump saw many protests in the wake of his expression of vulgar commentary about sexually assaulting women. One of the most memorable being the choice of Democrat congress people to wear white during the 2020 State of the Union address. The State of the Union address is the ultimate platform for political theatre where politicians can make memorable statements. Similarly, Congresspeople wore all black in 2018 as a show of solidarity with the #MeToo Movement.

Pushing back against the establishment through the median of fashion has its history. The Black Panthers used their movement to dress in an ode to Black Pride and Liberation. In their black leather outfits and berets, the Black Panthers inspired millions across the world in revolting against the status quo. The black beret being linked to the French

resistance movement against the Nazis shows us that simple accessories can connect movements in ways we may not have previously realised. The Black Panthers opened the door to so many African Americans in learning about their culture and taking pride in their achievements. This environment of promoting free will and styling yourself in ways you see appropriate to your identity made the impact of the movement everlasting.

However, clothing items can also bring about the worst in politics. The most prominent item of clothing in the world of politics over the last 6 years has been the ghastly red MAGA hats worn by the followers of Donald Trump. The accessory has now become the centrepiece of a movement that is built on fascism. Trump will don his hat while his baying followers fawn over

him dressed in red, white, and blue. The sea of red sends shivers up the spines of many who are aware of what it represents.

From the #MeToo movement and beyond, fashion has always brought people together in the face of injustice. However, it can also be weaponized to further oppress marginalised identities. It can help to mask the true nature of elite politicians who are implementing policies to disenfranchise the masses. Fashion has a unifying force that can be used for good and bad. However, the most memorable moments involving fashion and politics as an entity is when they are statements. They grab headlines and bring awareness to issues that can often be stuck in the mundane process of legislation. With powerful statements comes powerful movements that can make real change.

Black Panther demonstration, Alameda Co. Court House, Oakland, California, during Huey Newton’s trial, #71, July 30, 1968. Photograph by Pirkle Jones.

@iphone12_giveawayx photo by @kauuushan @connollysofleap

@al3xmeow at a @kriptikcork event, photo by @maclaineblxck

@ririonaa & @gabby.gvaz, photo by @kauuushan @connollysofleap

By Julie Cashman

It is no secret that the girls’ bathrooms on a night out is our safe haven. It is where individuals rant to a stranger, or cry on their shoulder, and of course, hype each other up to the maximum (like we always should). However, imagine an entire venue full of people with the aforementioned characteristics. It almost sounds like a dystopian world! Where can you find a place where people feel free to dance in whatever manner they want, dress whatever way they want, and most importantly, spread this love and positivity to each other? I have one simple answer: a rave.

Raves are a worldwide phenomenon that emerged in the 1980s, bringing individuals together to celebrate their mutual love of music, dancing, and style. It allows individuals the opportunity to escape from their responsibilities by enjoying the techno beats and euphoric atmosphere. Raves began as an underground movement, and there has always been a magical and mysterious connotation surrounding them. One such mysterious connotation is the secrecy associated with rave locations, which in many cases, were not revealed until the day of the event. In many of today’s raves, phones are banned upon arrival or covered with a sticker, and if you do not comply with these rules, there will be no raving for you.  Many cities are renowned for their raves such as Berlin with its infamous rave venue: Berghain. Since 2004, people have travelled from all around to boldly attempt to enter Berghain, which is located in an abandoned power plant and known for

being near impossible to enter. People line up for hours in hope of entering this dystopian world of techno music where everyone is free to express themselves.

Raves have given individuals the opportunity to express themselves through their unique style. The style in question, is full of diversity, inclusivity, and magic. Each generation of ravers has undergone constant revolution with new fashion trends. These trends have varied over the years from the hippie movement to 90s phat pants, to anything covered in neon colours, to a more modern aesthetic of all black fishnet clothing and gorpcore style. Like any fashion trend, the rave ‘look’ has evolved but it has always maintained its vibrant and euphoric aesthetic. When it comes to raves, freedom of expression comes hand-in-hand. The rave scene has been described as holding four core pillars- ‘peace, love, unity, and respect - embodied the inclusive nature of raves’- as stated by encyclopedia.com These four pillars radiate through individuals style at raves. Not only will the style at raves have your jaw dropping, but people’s makeup will have you doing front flips on the dance floor. Makeup is an important part of self-expression, and a rave is where you will see an abundance of jewels, glitter, and neon colours.

Unfortunately, if you search ‘rave clothing’ into a search engine, a list of fast-fashion retailers will be the first option that will appear on your screen. But let me assure you, this is avoidable and there are much more sustainable options out there for ravers! There are endless ways to reduce, reuse, and recycle for

a rave. To reiterate, freedom of expression is radiated through people at raves. You can wear anything you wish, and I guarantee you that people will feed you compliments. If you’re going to a rave, prepare for your steps to be well over the recommended 10,000 a day. Since you will be dancing all night, you don’t want to restrict your movement so the less clothes the better! It can be as simple as re-wearing a bikini top that you bought for the summer and pairing the piece with a pair of baggy trousers. Forget the phrase ‘diamonds are a girls best-friend’ because when it comes to raves, glitter is your new best friend. Glitter will add colour to any outfit and there are various options of eco-friendly glitter online. If you want to do a bit of DIY, a pair of tights can be recycled into a new rave top and there are plenty of YouTube tutorials to guide you. If you do want to go shopping for a rave, charity shops are where all the best finds are. Oversized shirts can be your new dress with a pair of fishnet tights. Additionally, a reflective safety vest that someone donated to a charity shop is the new perfect outfit for a rave. You can be as creative and sustainable as you desire!

Raves allow people to free feel and unobserved. It is a positive and empowering environment where there is no judgment on physical appearance, sexual orientation, race, gender, or dancing ability. Wear whatever you want to a rave, whether it is a 70s tie dye top or gorpcore outdoor gear. Embrace the four pillars of the rave scene - peace, love, unity, and respect – and may the rave be with you.

The Style Evolution of Cork’s gig scene

by Sarah O’Mahony

Music in Cork is a uniting force. The recent occurrence of the ‘Other Voices’ event on campus featuring Yenkee, SOAK, Cian Ducrot, Biig Piig, Pretty Happy, and more proves this point. Within Cork City, there is a gig for everyone. From rock-centric performances in Fred Zeppelins to more indie-themed bands in Spailpín Fánach, the Roundy, and Plugd, as well as techno acts in Crack Jenny’s, Cyprus Avenue, and Crane Lane. The first ever gig I attended in town was upstairs in the Roundy on Valentine’s Day 2019 with my friend Fatima. Arthur Valentine (I promise I’m not making that up) and Alex Gough performed. It was an alternative, indie, soft boy’s dream with all sorts of funky people in the crowd including ourselves, of course! No matter the performance you are attending, there are always exciting looks to be seen. The ‘Live Music Gigs’ page on Cork’s monthly ‘Whazon’ leaflet isn’t just an advertisement for music, it is a map of different social groups and styles in our city.

For a gig in Fred’s, a nice wine-coloured leather jacket or an oversized band tee fits the scene. Nodding along in the Roundy you might find a classic brown Carhartt jacket paired with Dr. Martens and Dickies, while in Crack Jenny’s, a good pair of black cargos for dancing along to the quick beat is a popular choice. Of course, these are generalisations and the taste of music goers in the city is much more diverse. It is simply a broader snapshot of popular style at this current moment in time.

Gig fashion in Cork has been elevated by second-hand style. Experimentation with layering, maximalist, and Y2K fashion, as well as emo looks, is all the rage within Cork City. North Main street is no longer the secret it once was. One of my favourite past times is walking along the

street perusing each shop I pass while watching other passers-by following suit. High street fashion doesn’t lend itself to the creativity you can explore in charity shops. Nowadays, while walking on campus, I see more and more people expressing themselves through style without the restriction of judgement. However, an environment centred around music will always be the least judgemental or serious regardless of the tone of the songs. Cork’s gig scene is where you will see the height of second-hand experimentation.

Someone who is prepared to brace the stage at an open mic, more often than not, does not care deeply about their outfit being judged. Nor do I, an avid gig attendee, ever stand in the crowd at Fred Zeppelins muttering to myself how ugly someone else’s skirt is. It’s cliché to tell you to just be yourself. However, it is important to wear what makes you feel confident, comfortable, and outright unbelievable! This is also experimenting in its own right. If you ever need fashion inspiration before you head out for a night on the town- Cork photographers have mined this resource online. Scrolling through the Instagrams of photographers, you can find film camera shots of a techno rave or a shot of someone in a gorgeous 70s-inspired outfit on stage. Exploring these, makes me firstly want to start learning the guitar, but secondly, it is inspiration for finding our own style. It is worth mentioning how popular gig photography in Cork City has become. Those who wish to represent images of an individual’s true self will follow the music scene. Music is where you go to find colour, joy, and a bit of craziness. So, next time you are going to a gig, throw caution to the wind, worry less about judgement of your outfit and just enjoy the experience at hand!

campus core

Photographer Chloé Hanappe

Makeup Artists Genevieve Cox Niamh Rahilly

Models Carlos Canals Ariani Jagan Duaa Mahmood Karl Rowsome Vang Sharone

Clothing: Candid Frank Vintage

Isshea

Over the last 50 years, Iraq has been a political playground for colonial powers. Fighting over who will gain reign over this country’s abundant oil reserves, this societal struggle has led to a shift in the Iraqi fashion industry.Historically,Iraq has undergone radical forms of transformation and experienced hardships like no other. They overcame the British empire, fought the Iranian-Iraqi war, suffered through the tyranny of Saddam Hussain, and were infiltrated by the US. This ever-changing landscape is reflected in how the Iraqi people present themselves. With every new ruler, every new attack, every new religious ideology, we see changes that are reflected in the clothes they wear.

Seized from the Ottomans, the British Empire ruled over Iraq from 1920 - 1932. For nearly three decades after this, ‘The Iraqi Kingdom’ continued to be controlled by a monarchy until this too was overthrown by civilian governments. Finally, The Iraqi Republic was formed in 1958. However, the legacy of the British Empire was still evident in the personal styles of Iraqi people. The British Empire dictated Iraq’s social and economic standards for over a decade. Although they may have retreated in 1932, their legacy tore through the Arab traditions for the next fifty years. Influenced heavily by the British fashion industry, the traditional dishdasha (long dress shirt worn by men) was ditched for the dull, English schoolboy attire. Iraqi men and women followed Western styles by wearing the same pressed pants, button down shirts, and matching blazers. Women would wear Beehive hair-dos and kitten heels as they trotted along to English

culture. Much like the patterned scarves tied around their necks, the British Empire had stifled the Iraqi people with British ideals. The popularity of British media meant that these trends began to grow stronger than ever. Flared pants and patterned shirts dotted the streets of 1970s London and Baghdad alike. However, although the younger Arab generation may have assimilated to English culture, the royal empire failed to persuade all Iraqi citizens. The elders of the community continued to hold onto their traditions tightly. Older women still wore abayas and hijabs, whilst the men clung onto their dishdashas paired with a tarbush. Although this was not a deliberate act of protest against British colonisation, the sentiment was clear. Young Arabs were desperately trying to keep up with the latest Western trends, whilst older Iraqis remained rooted in Arab traditions.

ByZainabBaker

Photos from Zainab’s family collection

Only a few years after ending British rule over Iraqi oil, Saddam Hussein seized full control. Rising to his official position in 1979, Hussein promised the Iraqi citizens ‘a glorious decade’. Unfortunately for the Iraqi people, Saddam’s glory was achieved with blood, loss and decades of war.

For eight years, the Iraqi people were required to fight in the Irani-Iraqi war. During this era, Ayatollah Khomeini ruled over Iran, bringing with him the Islamic Revolution. Before this, Khomeini had taken refuge in Iraq in 1965 and had created a strong following in Najaf (a religious city in Iraq). Khomeini’s conservitive views were reflected heavily in how women chose

to represent themselves. Mirroring Khomeini’s religious ideologies, Iraqi women traded in their English inspired neck scarves for head scarfs. Whilst some decided to merely present themselves more modestly with maxi skirts and longer shirts, others chose to depict Khomeini’s message by covering themselves fully with a black, abaya (black cloak used to cover the entire body). Khomeini may not have successfully succeeded in forcing his ideologies onto the Iraqi people, but he had certainly dug his nails deep enough to rip apart any Iraqi women’s beehive. In contrast to this,men’s clothes reflected the time of conscription. This period of suffering could be seen by the sea of khaki trousers and thick, black, desert

boots that trunched through the markets of Basra. Men were assigned their uniform much like how they were assigned a political and religious belief. Saddam managed to forcefully pull out any sense of identity these young boys had. Aiding this dictatorship, everyone was reminded of Iraq’s social climate by the mere presence of this uniform. This change in fashion was a powerful statement against all enemies of Saddam. The Iraqi people were no longer singular beings, picking and changing who they wanted to be. They were now simply a creation of the regime, their bodies used as a canvas to paint the messages of their ruler, and their identities, like their clothes, were dispensable and replaceable.

The Brits Ditch the Dishdasha

I solemnly swear to sanction this nation’s style

Coming out of this war, Iraq was economically distraught. Censorship had been deeply rooted for over a decade. To make matters worse, the UN had placed sanctions on Iraq due to Saddam leading Kuwait’s invasion. Buying new clothes was an unnecessary luxury that most families could not afford. To ensure children were able to unveil a new set of clothes for Eid, parents would take their old garments to the tailor so they could alter them to fit children. Fabric could no longer be seen as an item one could simply throw away. Every last cloth would be used and reused and reused again until it physically fell apart. The country’s swift demise was portrayed heavily in every Iraqi woman. Every limited resource and ration influenced how the women of this state chose to present themselves. Women now found sanctuary in their hijab. This accessory was cheap and

became an easy alternative to restyle an already banal outfit. Many other women would also share their wedding dresses amongst the women in their family. This expression of style deeply mirrored how the days of abundance and freedom were no longer prevalent in Iraq, and the only place women could find comfort and beauty were in the old garments they once would not dare to wear.

Iraqs Beauty Forever Buried at Babylon

After the end of Saddam’s reign, Iraq was left openly wounded and was quickly invaded by the US. Under the hands of another brutal, murdering regime, the Iraqi people were yet again confined to new societal norms. Censorship had finally come to a halt, and Iraq became open to trade with other countries again. However, this new abundance of information did not equate to progress. The Iraqi people lost their sense of direction and this

was reflected in their fashion. Some Iraqis would try to indulge themselves in American culture. Crafting their identity from the Americans that invaded them, many young boys mimicked soldiers by wearing Khaki green pants and boots. With the in ternet newly at their fingertips, young adults mixed every style imaginable. While the elderly men would imitate traditional English style, the boys would wear vibrant football jerseys of a team they never heard of. Tattoos began to gain in popularity, as did piercings. This was seen by many, especially the older generation, as a loss of Iraqi identity by assimilating to Western culture. Similar to the Mark of Cain, the elders of the community see this as a sign of the times. These piercings represent a loss of tradition and style in the wake of British and American colonialism. Over the course of the last fifty years, it is safe to say, Iraq is suffering. All her lost children are left to wander, trying to cling on to an Iraq that is no longer there. We can try to unbury our gedus (grandad’s) dishdashas and beebees (grandma’s) glimmering gold, but by then some other regime would have taken its course, bringing with it a new transformation of style.

Alexander McQueen:

‘Rebel King of British Fashion’

by Emily Sweeney

He was just three years old when he drew his first sketch:“some lil princess in a Cinderella dress”. An image that encapsulates his rise from a working-class childhood in East London to one of the most influential designers of our time.

He initiated his fashion career in Saville Row, where upon leaving school at 16, he completed an apprenticeship at London’s Andersons & Shepard. He tailored suits for the likes of Prince Charles and the late Mikhail Gorbachev. His loud, dramatic pieces became indicative of his future designs with brilliant designers like Koji Tatsuno. McQueen’s raw talent earned him a spot in an MA at Central Saint Martins. Here, he exhibited his first collection, gaining the attention of the editor and stylist Isabella Blow who became a dear friend and one of the biggest advocates of his work.

Stripping away elitist notions of fashion resulted in a raw and true expression of the self in his work. Fashion seen through his lens was about identity, sexuality, and expression. His work came across as provocative, violently expressive, and outrageous. He wanted his designs to make an imprint on people’s minds, and leave a mark: “ I know that I am provocative. You don’t have to like it but… you do have to acknowledge it”. We see this in the way his models posed in non-traditional ways, even flipping off the audience. McQueen was also infamously rumoured to have sewn the words “I am a c*nt” into the lining of a suit for Prince Charles, although

he later stated that he wrote it in marker as he didn’t want to waste embroidery on it.

His 1992 graduate collection sent shockwaves through the world of fashion. Titled Jack the Ripper Stalks His Victims, it caused quite the controversy. It featured pieces with human hair and a chilling red thorn-printed dress. The dynamic nature of his fashion only grew as he unveiled his notorious ‘bumster’ trousers in the 1993 Nihilism collection. These trousers, sported by the likes of Madonna, would form an integral part of London’s 90s fashion. He was credited with inspiring the trend of low-rise jeans in this era, which have recently seen a resurgence. McQueen’s expansion grew with the 1995 collection Highland Rape, which would tell the story of England’s historic mistreatment of Scotland, through the medium of fashion. This met allegations of misogyny as scantily clad models walked in barely there ripped up clothing. He responded that he intended to empower rather than exploit: “ I want people to be afraid of the women I dress.” McQueen had no intentions of ever conforming to society’s expectations of appropriateness and modesty. He soon became a household name. At just 27 years old, he replaced John Galliano as Britain’s Designer of the year and became head designer at Givenchy while continuing to develop his own brand. He dressed stars such as Madonna, Courtney Love, and Tori Amos. Mick Jagger and David Bowie wore his pieces

frequently onstage. From skull scarves to Kate Moss’ hologram, his designs were otherworldly. He would win three more British Designer of the Year awards as well as the CFDAs International Designer of the Year award in 2003. Unfortunately, his reign as Britain’s Rebel Fashion King was cut short. On February 10th, 2010, McQueen was found dead in his flat, aged 40.

12 years after his death, McQueen’s illustrious influence lives on. A recent example of this would be Bella Hadid’s mesmerising appearance in the Coperoni Spring/Summer Paris Fashion Week show. Her almost nude body was sprayed with a liquid that turned into a solid white dress. This was reminiscent of McQueen’s Spring/Summer 1999 collection no.13 in which Shalom Harlow spun on a platform while robots sprayed her white dress. Both were products of engineering and science but also packed an emotional punch, turning the runway into an art performance.

Alexander McQueen’s radical creativity made an enduring impact on the fashion industry and the creative world as a whole. Although his fashion oozed with notoriety, he will be remembered fondly by friends and fans, for his humility, boldness, and warmth. He wanted to change fashion, not let fashion change him.

RIP Alexander McQueen 1969-2010

Photos shot by Ann Ray, sourced from the AnOther website.

The Anti-Fashion Reading List

By Jane Gleeson

“What you consume, consumes you”.

This is a mantra we need to remind ourselves of every day as we are constantly surrounded by the media’s subliminal messaging. More often than not, these messages are negative and seriously impact our sense of self-worth.

Unfortunately, the fashion industry has always been the biggest culprit of creating new insecurities for its consumers. We have all felt the crushing effects of Y2K trends and present beauty standards. Although many brands have been making the effort to become more inclusive, they still have a long way to go. I am a firm believer that books are a form of

“Holding up the Universe”

by Jennifer Niven

The fashion industry has always perpetuated a culture of fatphobia which is explored in Niven’s novel Holding up the Universe. Libby struggles throughout the book with this issue as the society she lives in labels her “America’s Fattest Teen”. The book is a reflection of the author's adolescence where she also struggled with fatphobic comments from her peers. The book is utterly raw with emotion as Niven relives her most challenging years. It follows Libby’s journey of acceptance and appreciation for her body despite the hostility she is shown by her classmates. The underlying message throughout this story is to love yourself for who you are and to never let anyone make you feel that you are unworthy just because of your weight.

escapism for many people to forget about these problems and even grow out of them. For this issue of STÍL, I want to recommend empowering books that will make you feel worthy and confident. The words of these authors will educate you on crucial issues within the fashion industry while also enabling you to learn your own self-worth .

“Such a Fun Age” by Kiely Reid

Historically, the fashion industry has perpetuated beauty standards based on racist myths. From cultural appropriation to the exclusion of people of colour, it has defined beauty as Eurocentric. Kiely Reid’s novel Such a Fun Age explores these issues with a plot that follows the complexities of race and privilege. Black babysitter Emira is accused of kidnapping two-year-old Briar when she takes her to an upper-class supermarket late at night. The patrons of the shop are concerned for the safety of the young white girl and the security guard immediately confronts Emira in an aggressive manner. This book confronts the subliminal messaging the media continues to portray about Black women. It discusses important issues like white privilege, microaggressions and institutional racism. This book focuses on a social commentary that critiques the culture our fashion industry has created.

“None of This Is Serious” by Catherine Prasifka

The power of social media cannot be understated in the twenty-first-century where technology surrounds us at every angle. None of This Is Serious portrays the anxieties our generation faces a world where online scrutiny is the norm. The protagonist, Sophie, faces abuse on social media from people who are quick to judge her. She becomes lonely and depressed as her obsession with the internet spirals out of control. She struggles to balance

the life she leads in the real world with the comfort of constant scrolling online. This existential dread is relatable to readers in their mid-20s who feel like they are the only ones that don’t have it all figured out.

“Not Exactly What I Had in Mind” by Kate Brook

The environmental impact of the fashion industry is forcing us to rethink the way we dress. The novel Not Exactly What I Had in Mind by Kate Brook brilliantly explores this sense of climate anxiety. The main characters in the book discuss their individual impacts on the environment by discussing issues like dairy farming and meat consumption. It follows the group as they join an Extinction Rebellion group in London in a bid to enact change. It is clear that the message of this novel is to encourage us to fight for change in a society that normalizes the destruction of the climate. This book might make you angry but in a way that will inspire you to get up and do something about it.

For this issue of STÍL I wanted to recommend books with an important message, that will leave you feeling uplifted and empowered. If you are interested in reading any of these books for yourself, Cork is bursting with bookshops such as Dubray, Vibes & Scribes, Waterstones and countless more for you to explore. I truly believe that books have the power to help us escape our worries and doubts and maybe even grow out of them.

Throughout history, the way we have worn clothes has evolved greatly. At a fundamental level, clothing is a means to stay warm, protect ourselves from the harsh elements of the world, and act as a hygienic barrier. This basic concept of clothing has remained the same for the past 100,000-500,000 years. However, clothing as we see it today serves more than one purpose. It can be an outlet for artistic expression, a symbol of unity and equality, or even a way for an individual to celebrate their nationality and culture. Whatever the reason is, when you wake up in the morning and put on an outfit, you send a message to the world.

The origin of the separation between casual day clothing and formal professional attire can be traced back to the Enlightenment Era, a time historians suggest was the dawn of the concept of fashion. Here we see the division between “full dress” which was worn at court and other formal events, and “undress” which is worn day-to-day. This concept of different attire for formal occasions and casual occasions has snow-balled into what we know today as “professional dress”.

Whether we are aware of it or not, what we wear to work or other academic endeavours holds deep symbolism which has been ingrained into our subconscious - a judge’s robe represents justice, an expensive suit shows status and power, and so on. In this article, I am going to discuss how we can utilise the power of

Study Smart, Dress Smarter:

A deep-dive into the effects clothing has on our academic performance

ByGeorgiaTwomey

our subconscious mind and dress in a manner that will enhance our academic performance.

‘Enclothed Cognition’

Before we begin to explore how one can utilise the tool of fashion for personal gain, we must understand where it comes from, and how it works. In a study published in 2012, researchers Hajo Adam and Adam Galinksy coined the term ‘enclothed cognition’. This is defined as “the systematic influence that clothes have on the wearer's psychological processes”. During their studies, they explored what is known as the ‘Lab Coat Effect’. Here they found that when individuals conducted experiments wearing a white lab coat, which is associated with “attentiveness and carefulness”, they tended to display increased attention and performance, as opposed to those who didn't wear a lab coat.

Furthermore, a 2015 paper published by Social Psychology and Personality Science titled ‘The Cognitive Consequences of Formal Clothing’ concluded that wearing formal business attire resulted in the test subjects having increased abstract thinking while conducting cognitive tests.

From these experiments, we can conclude that the symbolic meaning behind certain items of clothing can have a major psychological effect on our performance.

The Oxford Way

Oxford University is ranked the fifth-best-performing University in the world according to the Centre for World University Rankings (CWUR). Therefore students enrolled in this esteemed college must be doing something right. In light of this article, I would like to discuss Oxford University’s academic dress, also known as sub-fusc. Sub-fusc, defined as “the dark formal clothing worn for examinations and formal occasions at some universities” consists of a dark suit or skirt, a dark coat, a white shirt, black shoes, and a bowtie/ ribbon. This uniform must be worn by Oxford students during formal ceremonies as well as exams. They are worn to represent one's academic achievement and rank.

According to Hesa data on degree classification, nearly 94% of Oxford students achieved either a 1:1 or 2:1 in their exams in 2017. Perhaps it could be argued that this percentage is so high due to the formal approach that is taken toward examinations. Maybe it is something that more universities around the world should adopt.

Personal Professionalism

Before I conclude this article, I would like to shed some light on the traditional concept of professionalism and how it can apply to each of us as individuals. Here at Stíl Magazine, we like to promote individuality and creativity, and therefore the sub-fusc concept of dark clothes and black smart shoes might not provide you with the confidence that you

require for your own academic ventures. Perhaps a yellow pantsuit with an extravagant lavallière is what makes you feel like the next big CEO, rather than a grey pencil skirt and white shirt- which is completely justified also! Therefore, I suggest that we all revisit the iconic 2001 film Legally Blonde (as a law student it was necessary for me to reference it at least once).

The costume designer for the film, Sophie de Rakoff, mirrors Elle’s style throughout the movie with her psychological state and perception of what she thinks she should and should not wear. We see her go from her pre-Harvard pink and flamboyant sorority self to a more “serious” conservative, classic style. Although her Ivy League-esque style is more suited to my personal taste, it did not accurately represent Elle’s true self. However, in the final Court scene, we witness her come back to life, in all her hot pink glory, to save her client from being wrongfully accused of murder. As de Rakoff says "She needed to be her most true self at this moment”.

Therefore, I encourage you to reflect on what professional clothing looks like to you - is it a black suit and tie, or a pink floral skirt? As long as it makes you feel good and ready to get some serious work done, wear it! You never know, your grades might thank you!

Special thanks..

To all the members of the UCC fashion society, committee members, University College Cork, contributors, models, artists and Michael Courtney and staff at city Print Cork, the STIL team would like to extend our utmost thanks for helping us to achieve our vision for this issue ! We hope you enjoyed reading and look forward to our future issues. - STIL team 2022