a special thank you to
Terrell Atkins, Broc Butler, Kirby Christiansen, Aubrey Exum, The Delta Delta Delta Chi Chapter, Malee Davidson, The Farmstead on Woodson Ridge, The Green at Harrison’s, Gracie Farquhar, Morgan Greene, Nina Houdeshell, Riley Houser, Patricia Hughes, Weslie Hunter, Ashton Brooks Logan, Sheridan Mark, Josh McCoy, Isabella Nolen, Julia Noya, Elena Ossoski,
Daniel Parker, Javares Pette, Lilly Ross and Parthenon Productions, Sofia Sanchez, Ava Strojan, Amelia Sweeney, Mary Clare Trower, Jade Weaver, Dr. Debora Wenger, & every reader, follower, and supporter of Square.
This magazine would be nothing without you and your loyalty.
Thank you, Square Magazine
Square Magazine
Emma Greene
Editor in Chief
Ruth Emmerich
Creative Director
Hollis Ann Newbill
Creative Planner
Abby Fulmar
Copy Editor
Aliza Warner
Digital Director
Addy Ezell
& Mailynn Nguyen
Social Media Directors
HG Crain
Business Director
Gage Hillman
Casting Assistant
DESIGN TEAM
Maddie Beckemeyer
Ruth Emmerich
Emma Greene
Gracie Hudson
Aliza Warner
Lana Welborn
STYLING TEAM
Mary Hunter Adair
Suzie Brown
Airey Jones
Annie Phelps
Sierra Sharp
PHOTOGRAPHERS
Ruth Emmerich
Emma Greene
Joseph Hogue
Kathryn Hosp
Hollis Ann Newbill
Maria Ramirez
Kaitlyn Steinroeder
2024-25
EDITORIAL TEAM
SophieAmen
OliviaBlackwell
AnnaGraceBowling
AudreyCooper
JaneDunn
HardyGreene
BrooklynHoffmann
KamrynReed
AvaRosetti
HenrySmith
SophieSmith
EmmaWilliams
SOCIAL TEAM
MadalynDudley
DemiGrauer
DabneyFlynt
MargaretFrench
Finely-ClaireMcKern
FreddieReinhard
letter from the editor
This year, we explored the aspects of fashion and style that challenge us most as young people in a social media-driven world. We landed on two main themes: the inextinguishable desire for individuality and learning to embrace our personal style despite the constant onlookers and opinions thatthe internet brings.
It’s easy to see how social media has transformed the once vast oceans of personal style into an unbroken stream of sameness, as it grants newfound virality to the historic fashion greats we reference and as influencers push the items we have to have. This flattening of stylistic expression leads me to wonder if our generation will ever break free from the feigned originality that hours screen time leads the crowd to seek. True personal style isn’t a final destination that can be found in buying all of the right clothes or recreating all of the right looks. It’s a neverending walk down awinding path, on which we discover inspiration, routines, and preferences as individual as we thelives welive.
The best way we can describe the act of finding personal style is “extrapersonal.” Style is an aspect of self that exists largely outside of the individual. It is how we present ourselves to the outside world, with the clothes we wear reflecting aspects of ourselves that we wish to publicize without words. Simultaneously, the process of finding and displaying one’s pure, personal style and the garments that represent it is ahyper (or extra) personal act.
I’m incredibly grateful for the team that was eager to explore these themes with me. Thank you all for your dedication, your spark, your curiosity, and your drive to create a challenging piece of art together. Thank you for pushing me and trusting me to lead the creation of this beautiful magazine, the most all-consuming and important project of my life to date. I’m proud of us, and I’ll miss creating with you dearly.
Withlove,
how fashion speaks
By Ava Rosetti
Fashionisunexpected.It’sbold.It’s a way to display your confidence, but, most importantly, fashion is a language of self-expression. Our authenticity and true identities show through our clothing. Personal style gives us the freedom to be anything we want to be, and it’s a way to show people who we truly are without ever having to say a word. It is more than just how we dress our bodies, style acts as a medium to expresswhoweareandourvalues.
Fashiontranscends thesurfacelevel andbecomes abeautiful,visible language.
Weliveinasocietythatoftentriestoput us in a box, however, fashion allows us to break through those barriers and presentourselvestotheworldinunique ways.So,whodoyouwanttobebeyond thefabricandthestitching?
“Iwanttobeabletolookbackatmyself in the future and see that I stayed true to who I am and didn’t waver in that, even with the outfits that I wear,” says Gracie Farquhar, former Square Magazine creativedirector.
Farquhar’spersonalstyletracesbackto her childhood. As someone who has always had a strong desire to express herself through her clothing, Farquhar recognizes the countless times she dressed in a way that spoke true to her identity.
“I think my sense of style really goes back to being a little fashionista as a child,” Farquhar says, “...[my talent for styling] was planted in my head very young, and I realized I had a knack for it. I wore what I wanted, and I loved doingthat.”
Whether it was dressing up her middle schooluniformwithuniqueaccessories such as boots, scarves, and jewelry, or rockingafullgoldsequinoutfitatcamp when she was 10 years old, Farquhar’s authenticityandsenseofselfhasalways shone through, allowing her to be confidentintheclothing shewears.
“IthinkbacktowhenIwasyoungerand beingteasedformyoutfitsorforpeople not understanding something that I was wearing,” Farquhar says. “I really did march to the beat of my own drum. I wasalwaysawareofstayingverytrueto who I am, and I think that is something thatIhavecarriedwithme.”
Farquharalsosaysshehasanemotional connection to the pieces she wears. Being very close to her family, she is sentimental, especially for the jewelry and accessories passed down to her by importantpeopleinherlifeandlineage.
“My grandmother is a jeweler, and she’s been gifting me special jewelry since I was a little girl,” Farquhar says. “I’ve accumulated pieces passed down from my great-grandmother, who I am named after, and pieces from other familymembers.Iamveryclosewithmy family, so I accessorize with these meaningfuljewelsalotanditmakesme feelveryconnectedtomyfamilyandmy inner child.” Farquhar’s love for fashion and ability to exhibit her personality through her clothing from a young age hasshownthatforher,styleisanatural extension of who she is. By being extremelyintentionalanddetailedwhen it comes to what she buys, she believes herstylecomesorganically.
“Atitscore,mystylehasreallyremained the same as I have grown into the person I am today,” Farquhar says. “As I’ve shifted from growing up to being a collegesororitygirltonowlivinginNew York City, my style has matured, but, through it all, I have wanted to remain myself.”
GrowingupinFranklin,Tennessee,with people constantly moving in and out of her town, Amelia Sweeney has experienced evolving and changing styles. Sweeney has channeled those different styles within her and developed a way of dressing that showcases her creative personality throughherclothing.
“Creativity and being able to create unique things is a big passion of mine, andIwantthattobeshownthroughmy clothing,” says Sweeney, a sophomore Integrated Marketing Communications majorattheUniversityofMississippi.“I love to create, and I love to see how other people are creating something different from me with what they are wearing. Fashion is a way for me to expressmyselfandwhatIlove.”
LikeFarquhar,Sweeneybelievesthatas shehasgrownintothepersonthatshe is today, her style has evolved and flowed very naturally. She doesn’t have to overthink the pieces of clothing she chooses to wear because she knows whatshelovesandwhatmakesherfeel confident.
“Truthfully, I wear what makes me happyandwhatgivesmetheconfidence to be true to myself,” Sweeney says. “WhenIamproudofmyoutfit,youcan see my personality and confidence shining through. Fashion allows me to expressmyselfthroughmyclothingand to show my authentic self in a physical way.”
Fashion is far more than a piece of fabricandathread;itisapowerfuland meaningfulformofself-expressionand a visual representation that communicateswhoweareandwhatour storytells.Itisalanguageandamirror imageofwhoweareandwhereweare going.Personalstylecanspeakvolumes aboutourexperiences,ourinnerworld, and our aspirations. So the next time you get dressed, ask yourself: who do youwanttobetoday?
the impact of ever-changi beauty sta
ging
andards
BY SOPHIE AMEN
The bustling industries of fashion and beauty, and the standards they uphold, are riddled with contradictions. The lack of transparency when retouching images of the body and face within said industries perpetuates insecurity and dissatisfaction beyond mere comparison and competition. It is nosecretthatthesestandardscontribute to widespread self-depreciation and insecurity, but why do we place so much pressure on conforming to a homogenized standard of style or representation?
Fromhairtype,acne,andskintexture,to weightandbodytype,thelistgoesonand on; these beauty standards present themselves in almost every aspect of our image. Modern beauty standards have warped the definition of “beautiful” to emphasize a perfect image that is impossible to achieve. These standards havebecomeprevalentinoursocietyand the lives of everyone, ranging from 10year-olds on TikTok to men and women ofanyage.
Theriseof“undone”and“effortless” waysofpresentingoneselfisequally ironicandproblematic.Attheircore,this juxtapositioniscreatedthroughcausal, seeminglyunpolishedbeauty,yet achievingitoftendemandsrigorousand high-maintenanceroutines,perpetuating theveryidealsthatsuchadjectives,by definition,appeartochallenge.
Thepressuretoconformtoimpossible standardswithouttryingispresentedin traditionalmedia,suchastelevisionand movies,andonthecoverofmagazines, whereactorsandmodelshaveteamsof makeupartists,hairstylists,lighting specialists,andmorehelpingtocraft theirimage.Socialmediaplatformshave reinvigoratedthesestandardsby expandingtheiraudienceandthespeed andeaseatwhichtheseaccoladesof appearancearespreadorfalsely achieved.
Anna: The Biography by Amy Odell confirmed that every photo that appears in American Vogue undergoes heavy review, endless reshooting, and multiple rounds of editing, but this level of photo manipulationisnowwidelyaccessible.
From beauty filters blurring the skin to the extreme retouching technology now availableonoursmartphones,imagescan fit unrealistic beauty standards with the swipe of a finger and a yearly Facetune subscriptioncostingonly$60.
Itseemslikeanever-endingcompetition: people can never truly be themselves in fashion, not even in their everyday lives. The so-called “effortless” look only overshadowsthecreativityandartistryin truly individual fashion choices and expressions of oneself. From “nomakeup”makeuptoachievingtheperfect “messy” bun, the process of appearing effortlessisanythingbutsimple.Notonly this, but these styles can also involve time-consuming preparation and even costly products. The result? An unattainable paradox and subtle reinforcement of unrealistic beauty standards that demand perfection disguisedasauthenticity.
“Society’sdefinitionofbeautyconstantly changes;it'satoxiccycle.Whetherthat's regarding external looks such as body type or the way that you style yourself everyday,”saysAubreyExum,astudent at Ole Miss and UM Fashion Panel member.
Almost every human being experiences an inherent need to fit in, likely during adolescence and for many, beyond then as well. It’s an intrinsic part of human nature. It is perfectly normal to experience the need for belonging and socialacceptance.
However, it becomes problematic when onelivestheirlifeforthesakeofexternal validation.Whengivingintotheneedto fit into certain ideals, it is alarmingly common for people to suppress their unique preferences and ways of expressing themselves to conform, sacrificing personal interests for perceived authenticity. Not only is this a dangerous dynamic, but it can also turn into a continuous cycle wherein individuality is overshadowed by trends that value a specific look over the expressionoftheself.
“It's a double-edged sword,” shares Ashton Brooks Logan, a professor at Ole Miss. “It can be a beautiful trend, enhancing natural beauty. We’re not always flawless. I'm a person with hormones,pHimbalances,andmore.But with this, you also have people attemptingtobeflawlessallthetimeand catertootherpeople’sviews—thatisnot reasonable.”
True beauty lies in the celebration of uniqueness, and when it applies to fashion, embracing infinite definitions of style, rather than enforcing a singular vision of what’s stylish, fashionable, or chic. In a world obsessed with and overtaken by trends, true individuality mayseemlikearadicalact.Butinreality, fashion and beauty should be tools for self-expression,notforconstrainingsaid expression.
“When did trying to look and feel your best become a bad thing?” Logan says. “It’s all about how you wish to express yourself.”
As we grow older, we can only hope to gain perspective. The things that may seemsocrucialandimportanttofocuson
right now are just minuscule details of thethingsonewilldealwithinthefuture. There are many more worthwhile things toappreciatebeyondconstantlyworrying aboutone’sappearanceandimage.While physical beauty is an attribute of ours, truebeautycomesfromwithin.
It’s time to challenge the notion of unrealistic beauty standards and celebratethediversityofself-expression. Although it’s not as easy as flipping a switchinone’sbrain,weashumanscan gradually learn to own and embrace our true, authentic selves without the biases ofsociety.
Collectively, we can make a change and create a world that values individuality over conformity and encourages everyone to embrace themselves. We must remember: our bodies, our styles, ourexpressionsofself,andeverythingin betweenareapartofthejourney.Makeit yours.
Fashion is a race. Style shouldn’t be.
Intheever-changingworldoffashion, the pursuit of originality is one of few constants. From everyday clothing to high-end runway collections, the desire tostandoutfromthecrowdisingrained in the spirit of the fashion community. However,aconflictinevitablyemergesas we continue to push boundaries. When every designer, stylist, and fashion lover sprints to differentiate themselves, what was once unique becomes unquestionably less so, at an everincreasing pace. In the race to orchestratethenextbigtrend,originality andrepetitionbecomeblurred.
At its core, the fashion industry is built on reinvention. Trends emerge, only to fade and reappear years later. The 1970s styles many emulate today arose from that decade’s reinterpretations of the 1940s and 50s. Wardrobe staples like the little black dress or denim jeans are constantly reimagined and repurchased in a new cut, fabric, or with new embellishments, despite versions of the pieces maintaining a constant place in thepublicwardrobe.
“The trend cycle is on the verge of implodingonitself,”saysSheridanMark, Dolce Vita Sample Coordinator and former Square Magazine creativedirector. “Personal style is the solution to escape the consumerism in the world of the ‘what are we wearing?’ videos. It’s more importantthanevertolistentoyourstyle compass that says, ‘what am I actually wantingtowear?’”
Style and trend are not interchangeable words, and it’s oxymoronic to look to trends as a means to be unique. “ “
Being stylish doesn’t rely on being trendy.
-Sheridan Mark
It is human nature to crave distinction, but this want is often dictated by the desire to do what others are not, and style is no exception. The knee-length dresses that made a bold statement in the 1920s are just as much a part of mainstream style today as the longer hemlinestheyreplaced.
The rise of fast fashion has further complicated this coveted uniqueness, or lack thereof. Brands like Zara and H&M offer low-cost imitations of high-end designstothemassesastheychurnout copy-and-pasted runway trends as quicklyasproductionallows.
This practice grants wider audiences access to trends, but in turn, it perpetuates similarity, creating a onedimensional concept of contemporary fashion that spans all price ranges. The impact of fast fashion on originality and theriseofthepersonalstylenarrativeis undeniable.
Amid the chaotic narrative surrounding personal style, it is increasingly difficult tofindonethat’struetoyou.
“You just have to find what you actually love,wearit,androllwithit,”saysElena Ossoski, former Square Magazine editorin-chief. “Not for a crowd, not to make peoplemadorothersadoreyou,butdoit for yourself and then just live in that silence.”
Oncampus,it’seasytospottheuniform of activewear—leggings, sweatshirts, and sneakers—as students rush between classes, or the classic “jeans and a black top”lookthat’sbecomeago-tofornights out on The Square. In the age of social media influencers and micro-trends, it's nearlyimpossibletokeepup.
“Someone could be wearing the same exactdressoroutfitformulaaseveryone else, but it’s their personal brand and personalitythatpullsitoff,”saysOssoski.
The definition of “unique” varies depending on geographic location. In fashion hotspots like New York and Los Angeles, the hunt for individuality is intensified as fashion lovers attempt to outpaceoneanother.“Itfeelsnaturaltobe abletofitinsomewherewherethere’sso much creativity and expression everywhere,”Marksays.
However, in places where the fashion landscapeislesschaotic,likeintheSouth, theprioritymayshifttowardblendingin, embracing a sense of belonging rather thantryingtooutdothenextperson.
“Environment is the most significant factorinstyling,”Mark,anAlabamanative, shares. “In the South, having a distinct personalstylecanbedauntingbecauseof tradition. Those breaking convention could be seen as outcasts because of [the region’s]conservativeroots.”
To understand modern trends, one must look at their roots. The clothes we wear are far from the purely individualistic creations they often claim to be. Many of fashion’s cornerstone pieces, from trench coats to flowing blouses, draw from cultural history, political movements, subcultures, and even traditions, reimagining and diluting them until they’re unrecognizable and indistinguishable.
Take punk, for example. What began as a form of rebellion in the 1970s against the establishmentwasrooteddeeplyinaDIY ethos that emphasized creation of something from nothing. Spiked leather jackets, ripped jeans, and band tees became synonymous with punk culture and were not just a symbol of defiance but a creative response to economic hardshipandadesireforself-expression. Punk was an act of invention, but it was also born from the collective experience ofageneration.
Today, much of fashion’s so-called innovation is connected to a similar practicality. Clothing is still, at its core, meant to protect the body from the elements.Theutilitarianoriginofdenim, developed for laborious mine and field work, is now an afterthought as the sturdy fabric evolved into a wardrobe stapleacrossculturesanddecades.
Fashionadvancesasdesigners
reinterpret such classics, fusing the old withtheirnewideas.
At the heart of the race for fashion’s elusive, and perhaps non-existent originality, lies a contradiction: the very pursuit of uniqueness often leads to the creation of trends that often become universal. Fashion is a never-ending cycleinwhichtheoldisconstantlymade new,andwhat’snewoftenharkensback tothepast.
In the end, fashion isn’t about finding the one true expression of individuality —it’sabouthowweusethetoolsofstyle to communicate who we are, where we come from, and where we are going. Whether we are conforming to societal expectations or rebelling against them, fashionisareflectionofourinternaland external worlds, always evolving and alwayspartofalargerconversation.
After all, maybe the most unique thing about fashion is that it’s never truly unique. It’s always changing, always being recycled, and always a reflection of the times. Perhaps this is where its true power lies.
ON The CHAMELE EFFECT
By Kamryn Reed
Chameleons possess the extraordinaryabilityto multifaceted lives. These subtle shifts in style parallel the chameleon’s instinctive changes,revealingoururgetobewithor similar to others around us. Simultaneously,clothingchoiceallowsus theopportunitytostandout.
changethecoloroftheirscales,reflecting both their emotional state and environmentalneeds.Thisuniqueability allowsthespeciestosurviveandthrivein a variety of environments. Be it for camouflage,communication,ortemperature regulation, these shifts in appearance are instinctive and purposeful, reflective of the transformation that we aspeopleundergoeachdaywhilegetting dressed.
We change our "colors" through clothing tosuitourcurrentenvironment.Whatwe wear is often a silent form of communication with the outside world, projecting our emotions, surroundings, and aspirations. Whether it’s the cleancut blazer we wear to a job interview, exuding competence and respectability, orrelaxedattirelikedenimandsneakers we wear for casual outings with friends, the items we choose when dressing reflectourinstinctiveabilitytoblendinto themanyenvironmentsofour
Daniel Parker, a Louisiana State University student studying Psychology andFashionDesign,describesfashionas both deeply personal and publicly expressive. “Your outfit choice offers everyonearoundyouaglimpseintoyour thought processes and mental landscape,” he says. “It reflects your emotions, intentions, and even your subconsciousstate.Itactsasasilentyet powerfulformofself-expression.”
Colors in clothing have long been a powerful language, offering a glimpse into the emotional and psychological state of the wearer, just as artists use their palettes to evoke specific reactions totheirwork.“Colorchoices[inclothing] areimmenselytiedtoouremotionaland psychological states,” Parker says. “Different colors can affect our confidence, influence our perception, or evoke specific feelings. One color I gravitatetowardiswhite.
Wearingwhitemakesmefeelpureandat peace with the world. White is a foundation color in my wardrobe because,tome,itsignifiesafreshstart.”
Just as chameleons shift their colors to evade predators, humans use clothing to adapttothesociallandscape.“Thisaligns withtheideaof‘fakeittillyoumakeit,’” Parker says. “Where dressing in a particular fashion can influence both self-perception and how others interact withyou.”Hehasobservedpeopleusing fashion intentionally to express themselves, conceal their emotions, or project a specific image, noting how expensiveortrendyoutfitscanbeusedto projectsuccess.
Fashion is a tool of adaptability, allowing us to blend in when needed and stand out when desired.
Choices in clothing can signal belonging toagroup.Thisaspectismosteasilyseen in the team colors and branded regalia worntoasportingeventoronacollege campus.Casualoutingswithfriendsmay lead one to choose relaxed attire like denim and sneakers, emphasizing comfort and approachability. The same spontaneity unfolds in nightlife: animal printsorsequinsthatshineinadivebar are often replaced by neutral knits and casual jeans for a coffee date the next morning.
Suchdressingchoicescanalsoserveasa mask when necessary, allowing individuals to conceal aspects of their identityorfeelingsjustlikecamouflagein thenaturalworld.
Chameleons rely on their camouflage to blend into their surroundings, avoiding predators and navigating potentially dangerous environments with the armor of undetectability. Similarly, humans adapt their fashion choices to align with prevailing trends and environments, ensuring social acceptance and emphasizingasenseofbelonging.
Social media plays a crucial role in shaping this conformity, accelerating trendcyclesfasterthaneverbefore.
Throughout various platforms, trends spread at an unprecedented speed, making it easier than ever for certain styles to become mainstream overnight,” Parker says. “Influencers set the tone for what’s ‘in,’ leading to mass adoption of specific aesthetics, brands, and even color palettes. As a result, many people gravitate toward these trends to fit in, sometimes at the cost of their authenticity.” A unique statement piece, once adopted by the masses, can lose its distinction, becoming another piece of a contextual uniform. To avoid this, Parker suggests that “when you intend to purchase an item, make sure it’s something that you like. Far too many people tradetheiruniquenessfortrends.”
Throughout history, humans have been likened to many creatures, but perhaps the chameleon offers the most fitting metaphor for our relationship with fashion. Just as chameleons adapt their colors to survive and thrive in their environments, we shift our clothing choices to navigate social contexts, expressemotions,andalignwithcultural trends.
Aswereflectonourownwardrobes,we mustconsiderhowmuchof whatwewearrepresents whowetrulyareversus whowefeelpressuredto be.Byembracingthe powerofthechameleonandtheessenceofour personalstyles, fashioncanhelp ustosurvivein theworldand celebrateidentity.
God Save
The Seam: The Power of Punk
Punkisanactofdefiance,aruptureinthe fabric of complacency. It is raw energy distilled into sound, style, and attitude. More than music, punk is an ethos that challenges authority and refuses to conform. It thrives in the space between chaos and creation, where urgency replacesperfectionandrebellionbecomes an art form. Born from discontent, the movementhasreinventeditselfendlessly, resisting definition while leaving its mark on decades of culture, fashion, and identity.
By Henry Smith
Punkisnotjustamovement;itisapulse, an instinct, an unrelenting scream in the faceofsilence.Punk’svisualrebellionwas as integral to its message as its music: rejectingthepolishofmainstreamculture and embracing the messy, the raw, and thereal.
Punk fashion has always been more than clothing—it symbolizes defiance, a rejection of the status quo, and a radical formofself-expression.
This counter-culture particularly resonated among marginalized cultures, namelywomen,peopleofcolor,andthe youth,astheychallengedmaleandwhitedominatedspaces.Throughtheirunique fashion choices, many punk artists and designers created new, empowering identities that defied traditional gender rolesandconfrontedpervasivesexismin themusicindustryandsocietyatlarge.
Vivienne Westwood, a British designer whoseworkwascentraltothemovement, helpedshapethevisualidentityofpunk fashion in 1970s London alongside her partner Malcolm McLaren. Their boutique, Sex, became a hub for punk fashion, selling clothes that celebrated anarchism, rebellion, and sexual liberation. Westwood's designs were groundbreaking for women, incorporating elements like bondage straps, torn fabrics, and provocative slogans. Her designs allowed women to reject the passive, decorative role they wereassignedinmainstreamfashionand instead to embrace a look that signified power,autonomy,andresistance.
Patti Smith, known as the "punk poet laureate," also used fashion to challenge gender norms. Her style was androgynous,seeninherloose,unkempt clothing,leatherjackets,andboots.
Siouxsie Sioux of Siouxsie and the Bansheestookpunkfashiontoadramatic, theatricallevel.Herstyle,whichincluded dramatic makeup, dark eye shadow, and avant-garde clothing, was a statement of rebellionandself-expression.Sioux’slook blended punk and gothic elements, incorporating leather, lace, and sharp accessories like spiked collars and studs. Her style created a powerful, mysterious persona that challenged and transcended typical ideas of women in rock and punk music.
TheRiotGrrrlmovementofthe1990s,led bybandslikeBikiniKillandBratmobile,
strengthened the ties of punk fashion in women's empowerment. Riot Grrrl was not only about music, but reclaiming femininityand using itas atool forsocial change. The Riot Grrrls’ style was raw, unapologetic, and crafty. It incorporated flannel shirts, band tees, and brightly colored hair. Their fashion was not about fitting into the traditional "rockstar chic" mold,butcreatinganewidentitythatwas authentictothepunkethosandrootedin feministpolitics.
Designer Betsey Johnson also drew from punk aesthetics, incorporating elements ofirreverenceandnonconformityintoher collections. Johnson’s punk-inspired collections featured playful, subversive takesontraditionalfashion,andincluded chains, studs, and graphic prints. Her work helped bring the rebellious, individualistic spirit of the movement to permeatethemainstreamfashionworld.
Through their bold, often controversial clothing choices, these artists made it clear that punk fashion was a means of speakingout,assertingcontroloverone's body and identity, and challenging the mainstream'snarrowviewoffemininity.
Despite punk’s roots in rebellious, antiestablishmentideals,itshistoryhasoften been portrayed through a predominantly white lens, especially in the context of music.However,manyculturalandracial backgrounds have influenced the movementfromitsbeginning.
Iconic punk band The Clash exemplifies the intersection of punk and reggae, ska, andotherBlackmusicaltraditions.
Punk's fusion with these genres introduced a diversity of sound. The band’smembers,significantlyMickJones, whohadCaribbeanheritage,helpedbring anelementofmulticulturalismintopunk fashion. The Clash's style often incorporated elements like reggaeinspired prints, military jackets, and checkerboard patterns, and resonated with communities that saw themselves outsidethemainstream,suchasBlackand immigrantyouthinLondon.
Bad Brains, a pioneering hardcore punk bandfromWashington,D.C.,wasintegral indiversifyingpunkmusicanditsfashion. Known for their fusion of hardcore punk with reggae, Bad Brains reflected their Jamaican roots through their music and style, asserting their presence in a predominantly white scene. Their look incorporated bright colors, dreads, and Rastafarian-inspired imagery. It challenged the racial and cultural boundariesofpunkandprovidedaspace for Black identity to be represented in a movement heavily shaped by white, working-classyouth.
Fishbone,anotherprominentbandwithin the movement, helped further blur the lines between punk, ska, and funk. Their energetic performances were often accompanied by fashion choices that reflected their African American identity, combining the punk aesthetic with bold patterns, brightly colored clothing, and elements of Afrocentric fashion. Fishbone’s integration of African American cultural references into their style helped make punk a more inclusive space, allowing people of color to bring their histories and aesthetics into a genre thatoftenmarginalizedthem.
The emergence of Afro-punk in the early 2000s marked a cultural shift within the scene. The Afro-punk movement was not just a response to the racial dynamics of the punk scene, but a reclaiming of space for Black artists and fans to express their punk identity. Afro-punk embraced a more fluid, eclectic style, mixing punk’s rebellious attitude with Afrocentric influences, dreadlocks, brightly colored fabrics, and a mix of traditional African attire with punk’s signature leather jackets,studs,andbandt-shirts.
Complementarytothemusicandcultural movements, designers like Dapper Dan, who gained recognition in the late 1980s andearly1990s,wereessentialinmerging punk’s DIY nature with luxury fashion. Although his designs were not directly tiedtopunkinorigin,DapperDan’suseof
high-end, often defaced luxury brand logos in his custom clothing created a unique intersection of countercultural fashion, race, and class. His work highlightedhowfashioncouldbeavehicle for self-expression, especially for marginalized communities looking to challenge who could wear "luxury" fashion. He focused more on hip-hop. However, his designs influenced punk’s broader approach to subverting mainstreamfashionnorms.
Throughtheirmusicandfashion,people of color have reshaped punk’s visual language. By combining its confrontational style with their cultural influences, People of color within the scene have demonstrated how fashion serves as a tool for identity, resistance, andartisticrepresentation.
Safetypins,rippeddenim,leatherjackets, band t-shirts, and studded accessories became signatures of punk style, each piece symbolizing a different form of defianceagainstthenormsofmainstream fashionandsocietalexpectations.
Punk fashion was aggressive in its simplicity and messaging: a refusal to be controlled, a rejection of the consumerist systemthatdefinedmuchofyouthculture at the time. These fashion choices were designedtoprovoke,shock,andchallenge thestatusquo.Theaestheticwasn’tabout creating traditional beauty; it was about communicating anger, frustration, and a desire for change. It provided a voice to youngpeoplewhofelttheyhadnone.
Punk fashion wasn’t just about style—it wasaboutcommunity.Youth,particularly those from working-class backgrounds, found a sense of solidarity and belonging in the movement. It offered an opportunity to speak to a larger societal discourse, to express frustrations with political and economic systems that seemedtofavortheeliteandmarginalize the most vulnerable. In cities like New York and London, where punk was born, young people used fashion as a form of collectiveexpression.VenueslikeCBGBin New York and The Roxy in London became gathering places for youth to share their style, exchange ideas, and challengetheestablishment.
Fashion became a way to recognize one another, to form an identity not just as individuals but as part of a larger movement.
The rejection of mainstream fashion trends was not just an aesthetic choice, but a critique of the commodification of youth culture. Punk fashion actively questioned the corporate-driven trends thatcommercializedandappropriatedthe voices of young people. In response, its leaderstookmattersintotheirownhands bycreatinghomemade,personalized,and unashamedly raw fashions. This DIY approach became a powerful form of resistance, giving youth the ability to definetheirstyleontheirownterms.
Punk fashion is a testament to the power of style as a tool for self-definition and social critique. It gave young people a voice in a society that often undervalued them,anditremainsanenduringsymbol of the power of youth culture to disrupt, challenge, and ultimately reshape the worldaroundthem.
Style
How Follows Personal Evolution
By Hardy Greene
Asonegrowsmentallyandphysically, how they represent themself follows suit. Self-expression is demonstrated in infinite means, playing a key part in developing personal style. A person’s style depicts a number of things about them—physically presenting their ever-changing hobbies, interests,andpassions.Anindividual'ssense of style begins to develop at an early age, evenbeforetheystartdressingthemselves.
“Style is so much fun,” says Morgan Greene, a former University of Mississippi student, who spent time in Atlanta, Nashville, and Asheville before returning to her hometown ofOxfordinJanuaryof2024.
“Growing up, my mom dressed me in Mini Boden[aBritishbrandknownforitsbrightly colored, whimsical garments], and I think I still hold on to a lot of that now,” she says. “But, when I grew into dressing myself, I didn’tknowwhattodo,butIknewIwanted to be similar to my friends. I grew up in Oxford. I had big, oversized shirts and Nike shorts.Ididn’tfeelcuteinthem,
and I was so uncomfortable, but I wore them because that’s what I knew other peoplewerewearing.”
This dilemma is nearly universal: dressingtofitthestatusquoratherthan stand out. Think of Vineyard Vines tshirts or Nike Roshes, nearly everyone has experienced a time in which the desire to fit in outweighed that of selfdiscovery.
Clothing can also be used as a representation of someone's sense of community.
“As I became an adult, I realized I wasn’t like everyone else,” Greene says. “Not in an ‘I’m different, I’m out there, I’m weird’ sense because my style now is very similar toalotofmyfriend’sstyle,butwhenImet them, we were already dressing similarly.” Peopleoftendressinwayssimilartoothers that they consider close. “Instead of having friends and modeling my style based on them, we became friends because we saw each other in a way kind of signaling who we are through how we dress,” Greene shares. This phenomenon is seen in the goth, punk, and skate scenes and even within the Greek life and athletic communities.Asanindividualdevelopsand weaves between different groups, or stays in one, the communities with which they associate are often demonstrated in their style.
WhatIthoughtIwantedtoexperiment with.Experimentingtoseewhatfitsyou andfeelsthemostyouisabigpartofit.”
“I have been through many phases, and I stillgothroughphasesinmystyle,”Greene says. “I have been pretty goth before, I did the whole Urban Outfitters thing, I did the mom jean, I did the Converse, and a lot of that was based off of what I was seeing on theinternet.WhatIthoughtIliked.
There is another side to this, though. As fashion has become more widely discussed through the internet’s rapidfire trend cycling, more individuals dress less as a genuine representation of themselves and more for the expectations of others. This oxymoronic situation in which individuals trying to differentiate themselves have lost their stylistic individuality.
“In a place like Oxford, even the ‘indie fashion’ is very streamlined and modeled off of TikTok,” Greene shares. “Which is cool if that's what you’re into, but I think there’s a very clear line where style goes from‘I’mdressingcool’to‘I’mdressingfor myself’, and you will eventually hit a wall when dressing for what is cool that you won’tbeabletobreakuntilyourealizethat dressingforyourselfismuchmorefun.”
Instead of showing themselves through their clothing, they show what they want otherstothinktheyare.Thisoftenshowsa predictableandimpersonalevolutionasthe lack of personality drives one to follow trendsandlackoriginality.
“[Dressing] should be purely selfish and purely fun,” Greene says. “When you’re havingfunwithitotherswillseeandbegin to have fun with it like abstract painters as opposed to people trying to calculate the perfectoutfit.”
There is nothing wrong with dressing to standout.Itisanaturalshiftthatoccursas youth grow past their middle, high school, and even university-driven desires to fit in with the crowd. It allows for personal growth and shows the natural need for individuality.
dressed every day and people change every singlemomentoftheirlife.They’rechanging, they’re evolving, and their style evolves with it,becauselivingisaprocessofdying.”
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