The Muse Issue

CONTRAST

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The Origin and

Evolution of

Colors of

the Muses

““Muse””

MUSEum:

Art Museum Aesthetic & Fashion

Living

Statues

25 29 31 39 Simonetta Vespucci

When

Science

Becomes Muse: Iris

Van Herpen

Dance Shoot

The

Deconstruction

of the

Fashion Muse

Letter from the Editor Dear Readers, I am very excited to present to you the 15th volume of Contrast, our Muse edition. In selecting this theme, we were inspired by all the possibilities the word evokes. From mythology to the arts to a sense of contemplation and wonder, there seemed to be so many creative interpretations we could explore together.

This semester has been the first since the start of the pandemic where we have been able to meet in person as an exec board, and our brainstorming meetings were as lively as ever.

I personally missed the energy and excitement of collaborating creatively in the same space, and being able to bounce ideas off one another for our photoshoots and film projects fostered a refreshing and stimulating atmosphere that a

Zoom session could never offer. In this sense, Muse has been a very fitting theme for this fall; with its boundless interpretations, it gave us all the space to be inspired and pursue fun and creative ideas together.

In the magazine, we explore fashion in multiple facets, including how it intersects with history, dance, and even science—keep reading, and you’ll see how. Overall, the creation of Contrast has been a labor of love by so many talented individuals from across our campus, and I hope you enjoy reading it just as much as we enjoyed creating it.

Gina Pepitone

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The Origin and Evolution of “Muse”

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“Muse” evokes numerous feelings for each listener, but many share the same thought of the Greek muses—beautiful women who inspired artists. The word “muse” itself is derived from the Greek word “mousa,”’ meaning “the muse,” and is believed to have originated with Mnemosyne, the goddess of memory and mother to the nine Greek Muses. Mnemosyne—a titan, daughter of Ouranus and Gai, and sister to Cronus—was tasked with preserving history before language and writing were developed.

She slowly faded from myth after giving birth to Zeus’s daughters, the Muses.

In mythology, the Muses have been closely connected with Apollo, the sun god who also controlled prophecy, due to possible prophetic abilities, and they are believed to have mothered many Greek heroes such as Orpheus, Hyacinthus, and Rhesus depending on which version of the myths you look to.

These nine—Clio, Euterpe, Thalia,

By Abigail C Straus

Melpomene, Terpsichore, Erato, Polymnia, Ourania, and Calliope— each protect a different aspect of the arts.

For instance, Clio is the muse of history who inspires retellings of past events. Some also say she is mother to Hyacinthus, though this is debated as different versions of the myth disagree. Her son was born after she angered the goddess Aphrodite, who punished her by making her fall in love with king Pierus, Hyacinthus’s father. Apollo would later fall in love with Hyacinthus and accidentally kill him, leading to the creation of the hyacinth flower.

Thalia is the muse of comedy and discovered geometry, architectural science and agriculture in addition to being a Grace (a group of fertility goddesses). Her position as a Grace directly correlates with her name, as Thalia is derived from the Greek “thaleia” which translates to “rich festivity” or “blooming.” In art, she is often shown with a shepherd’s staff and comic mask which is still used today in logos for many theatres and acting programs, and undoubtedly shows up on a poster tucked away in the Powerhouse.

Calliope is said to have inspired Homer and was the muse of epic and heroic poetry. She is the moth-

er of Orpheus, the star of Hades Town, a Broadway show with eight Tony wins, including best musical.

She is also a possible mother to Linus, Hymen, and Ialemus. She appears in classic literature, such as Divine Comedy by Dante and is invoked by Virgil in The Aeneid.

Historically, all the muses are represented by a beautiful woman with laurels and items relating to their element of the arts, such as a globe for Ourania or Thalia’s comic mask. Today, the muses are typically replaced in modern media by a mentor or friend who gives advice or inspiration to the main character. Sometimes the main character must ask for advice, much like how artists appealed to the muses in the past, but for others, the advice is freely given. They are also prevalent in design, with numerous brands finding muses to inspire them and help show their collections.

Using muses is common for high fashion houses, who take inspiration from models, actors, and other popular figures. Take for example Stacy Martin, an actor, ambassador for Louis Vuitton’s 2021 pre-fall collection, and muse for their creative director Nicilas Ghesquière.

Ghesquière has also had many other past muses ranging from Selena

Gomez to Jaden Smith. Many of his muses can be regularly seen at Vitton Shows and sport the brand in public, often entering into contracts with the company to be ambassadors or hold special roles such as “face of the house,” a special ambassador role with additional marketing opportunities.

Gucci, another luxury house, has also heavily utilized actresses as partners and muses, such as Elizabeth Taylor and Grace Kelly sporting their early leather goods. The house has also expanded beyond the typical celebrity with first lady Jackie O, naming their bag “The Jackie” after her. Models such as Kate Moss were also popular muses, and Tom Ford, a Gucci creative director in the 90s, used them repeatedly in runway shows to help people make associations between the popular name and the brand. Today, Lana Del Rey appears to be a current muse, starring in a recent fragrance campaign for the house.

Perhaps one of the most sought after muse positions was for the iconic house of Channel under the direction of the legendary Karl Lagerfeild. Before he passed in 2019, he worked with numerous A-listers such as Kristen Stewart, Blake Lively, and Margot Robbie. He also utilized models like Inés de

La Fressange or Naomi Campbell, choosing them time and time again to walk in fashion weeks and represent the brand. Largerfeild also worked with Pharell, releasing a Channel capsule collection together that worked to take inspiration from Pharrell’s street style and apply it to luxury goods.

Models like Kate Moss and Naomi Campbell also took on the

Muses who typically required a gift or prayer to help individuals, today’s muses all have lucrative contracts with the brands they work with. This begs the question: how much do they truly inspire?

They are all called muses, yet it appears that our typical interpretation of the word may not apply to this new business tactic. However, even if these muses don’t inspire the brands they work with, they do inspire us. By working with high fashion brands, celebrities influence trends in the general population.

Take Emma Chamberlain, whose style impacted many and inspired new trends even before she became a Louis Vuitton ambassador. Her position with Vitton means her style will likely grow to include elements of the brand, and we will follow. The word muse still applies, just in a different way than many may think, showing the evolution of ancient ideas into the modern world of fashion and art. t

Like the ancient Greek Muses who typically required a gift or prayer to help individuals, today’s muses all have lucrative contracts with the brands they work with. This begs the question: how much do they truly inspire? role of muse for other brands, such as Versace.

Versace historically appears to use mostly models as their muses, but has also used icons such as Princess Diana, who was close friends with Gianni Versace, Versace’s founder. Unsurprisingly, Jennifter Lopez also appears on this list, namely due to her iconic green Versace dress, which prompted the invention of the Google image search engine.

Overall, all these brands take more from their muses than just inspiration. Like the ancient Greek

Please note that ancient authors have different versions of the same myths, leading to debate and uncertainty about many events. If you wish to better understand the myths and their variations, please consider using primary sources and further research.

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Colors of the Muses As an allusion to ancient Greek mythology, this photoshoot serves as a reinterpretation of the 9 Muses. The looks for each Muse are beauty-focused, evoking the artistry and paintlike qualities of makeup, with each model’s face serving as both the canvas and source of inspiration. They are dressed in monochromatic outfits to enhance their elaborate makeup looks, and, as an ode to an artistic interpretation of “Muse,” we photographed in an art studio space to capture the atmosphere of creation. t 5

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MUSEum::

Art Museum Aesthetic & Fashion

By Anjali Krishna &

Morgan Stevenson-Swadling

The Dior exhibit at the Brooklyn Museum opens with a timeline of the house’s history. Black text on a white plaque stretches into the galleries. It was the perfect backdrop to observe a secondary exhibit: the style of museum goers. Flared patterned pants and a crop top in bright pastels caught my eye; a 70s inspired look stood out against the neutrals of the opening hall.

As I moved further into the exhibit, direct nods to Dior began to appear in the crowd. A collared shirt and those everso-trendy chunky loafers were paired with a Dior headscarf. Long and short dresses that emphasized the waist, one with a nude under-bust corset. Calf-length coats. Lots of black and white and a couple Dior bags. At the same time, the arty, personal style I would expect to see in Brooklyn shone through. A person in a pastel printed sweatshirt and floral canvas shorts chatted with a group of friends in the photography hall. Someone sporting a striped, sheer dress and a tassel rope belt caught my eye as they moved through an archway into the next room. Against the stark white of the toile display, a boyfriend knelt down to snap some pictures of his girlfriend, outfitted in monochrome lavender: a long coat and skin-tight cut out dress. Someone grabbed my attention each time I turned my head. The style was so captivating, at times I forgot to look at the exhibit itself.

Dressing up for museum visits seems to be common, specifically amongst members of Gen-Z. My friend and I certainly partook in the trend, opting for full skirted dresses that cinch at the waist as a nod to Dior’s “New Look.” But is this a universal phenomenon? It crossed my mind that because it was a fashion exhibit, the crowd I observed at the Brooklyn Museum was not exactly an unbiased sample. Would I see a similar trend at, for example, a European medieval art museum?

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T o look around the Met Cloisters, one would think themselves transported to a medieval courtyard in the likes of Italy or Spain. There’s courtyards with dusty patches of flowers and vines climbing up trellises, idyllic leafy greens that extend over the path one walks across.

The entire building looks like an ancient castle or cathedral of sorts, with imposing bricks and portions taken directly from old medieval buildings.

The crowd here is on the older end. There’s many families, or mother-daughter pairs, with the daughter in her 20s and her counterpart in her 50s. Several people are dressed simply, in jeans and walking shoes; others are more primped up for the day. Looking around, those who are dressed up tend to emulate a very specific, academic aesthetic. Blazers are common, especially plaid. Button downs abound, some a classic creamy white, others in fun green patterns with ruffled collars. A girl who walks past me wears a billowing peasant blouse tucked into a skirt and carries a purse embroidered like a tapestry.

The flowing skirt is another common motif in the museum. Some opt for a pleated look, others floaty florals; yet I most often see pleated floral midi skirts.

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The MoMA is a different story. Dark colors and edgy cuts reign supreme. Multiple people pass by me in high-waisted, pinstripe pants, and corsets with bondage details are a popular choice. The demographic is far younger here; there are more college-aged students, and many others are under the age of 30. Arm tattoos work as extensions of the outfits themselves, and many don mesh or sleeveless shirts to show them off. Whereas most people at the Met were bare-faced or wearing simple eyeshadow and eyeliner, more elaborate makeup looks are common at the MoMA. A girl passes by with rhinestones above her eyebrows in arches. The accessories are also bolder. Instead of simple leather tote bags or purses, many have decorated their tote bags with croppings of buttons. One girl has a leather backpack in the shape of a teddy bear with spikes coming off of it. On the leather theme—I spotted plenty of leather jackets or leather cuff bracelets. Postmodern punk chic is a huge look. My leather blazer slung over my shoulder looks relatively tame in comparison to everyone else, whereas I was drowned out by tweed at the Met.

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While personal style is often thought to be a reflection of one’s inner self and personality, the reality is often more complicated. One can seek to mirror the world around them in their dress, to adapt their look to the activities they’ll be carrying out, the people they’ll be seeing, the setting they’ll be in. At a museum, this phenomenon becomes extra concentrated, particularly for the younger generations.

There’s a number of reasons for this. One could chalk it up to a tonguein-cheek “life imitates art,” and they would not be entirely wrong. There’s something fundamentally exciting about dressing as if one could step right into a painting itself and look as if they too are part of the larger installation.

The museum is a space where performance is easier to carry out, and in a way, one might amplify the way they normally dress to “perform” the world around them, or in this case, the museum environment.

A museum is also a dedicated space for viewing, and there is a playful joy in turning this dynamic on its head––to make your outfit pull focus from the art itself. After all, fashion is an art form, but one that is intertwined with strict social expectations and rules. Our self-expression through daily wear is often stifled by these codes, and we lose the connection between dress and art. Museums offer a space to reimagine this connection. To break “fashion rules” and recognize your style as art and yourself as an artist.

A more cynical view to explain why people dress up for museum trips would strip the rose-tinted glasses from the imaginative romanticism of pretending to be part of the museum. We are perhaps performing for the view of others, simply matching our outfits to the setting for more cohesive, aesthetically pleasing social media posts. There is also something to be said for the emulation of European aesthetics and the view of museums as inherently intellectual, cultured spaces—ideas which should be reevaluated. It’s worth asking why our style choices sometimes play into the colonial dynamics on display. When stolen art is exhibited in a European hall, why do we sometimes choose to emulate the hall? As someone who loves academic aesthetics deeply, I don’t have an answer. But it’s something I find myself chewing on.

However, from a more straightforward point of view, one can recognize dressing up for a museum trip as a more fun activity. Personal style doesn’t always need to be taken terribly seriously, and sometimes matching the aesthetic of a place is a more acceptable form of adults dressing up like we did as little kids. There’s something slightly magical about changing one’s style and looking the part instead. I, for one, am very glad that I got to see a leather teddy bear backpack. And it’s been a while since I’ve seen that many Docs in one day. t

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Living Statues

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Taking on a more classic interpretation of Muse, this photoshoot is largely inspired by Greek and Roman imagery. By layering and draping light, flowy garments, we achieve a statuesque style that creates an evocative contrast between the delicate details of each outfit and their powerful silhouettes that could be carved from marble. The shoot also explores a connection to nature, capturing a dreamy, woodland beauty amidst the greenery and the glow from sunset. t

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Simonetta Vespucci

And the Artist’s Muse as a Form of Both Female Objectification and Empowerment

By Lily Scott Tarrant

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he artist’s muse, the beauty in the eye of the beholder, is a concept that has transcended centuries. This is exemplified by Botticelli’s iconic Portrait of a Young Woman, which was modeled off a young woman regarded to be the archetypal Renaissance muse: Simonetta Vespucci. Her long hair is styled in golden waves that fall down her back, adorned with luxurious accessories of pearls and silk ribbons. A stoic gaze reminiscent of Greek Idealism centuries prior: contemplative, noble, and thoughtful… idealized. Thinking about the modern beauty ideal, and the height to which physical “beauty” is regarded in our modern world, we must ask ourselves: What is the specific continuum to these modes of opportunity during the Renais-

sance, and what are the simultaneous tensions to the scope of opportunity today? Across history, the female body was societally barred from being valued for much else besides child bearing abilities and their visual aesthetic, and women who were renowned for their beauty in turn held power in this exact concept of beauty.

Simonetta Vespucci of the Italian Renaissance is the muse in which we will explore the duality of the muse as a channel of female objectification and empowerment.

Botticelli created Portrait of a Young Woman between 1480 and 1485.

Art historians widely concur that the subject is the iconic Simonetta Vespucci, or “la bella Simonetta,” a Florentine noblewoman who was referred to as the leading beauty of her time. Simonetta Vespuc-

ci is speculated to be the subject of many other Botticelli works, such as Primavera, Mars and Venus, and The Birth of Venus.

Botticelli never married, and some believe that this painting arose from his unrequited love for Simonetta Vespucci, asking to be interred at the foot of her grave when he died.

During the commission of Portrait of a Young Woman, Florence was in its golden age, and the Medici family, more or less, ruled the city. The family’s power rose from their lucrative business in banking, and their riches were employed to surround the family—and their lovers with the finest artists, poets, philosophers and intellectuals of the time. The powerful Medici men of wealth and patronage were also responsible for defining the so-called “canon

of beauty” at their time, deciding the “rules” of the “perfect beauty” in a woman. When Simonetta Vespucci arrived in Florence, they agreed that she was the divine incarnation of these rules, thus giving Vespucci a platform to be renowned, revered, and adored.

In Botticelli’s work, Simonetta’s long golden hair is seen flowing down her back, adorned with pearls, ribbons, and precious gems. Contrastingly, while long flowing hair has been referred to as a sign of erotic power and male entrapment for millenia in various religious tales such as that of the Bible’s Eve, the dictator of this portrait decided that Simonetta’s luxurious locks represent a sign of fertility and archetypal beauty. Interesting, isn’t it? Even the male-defined aesthetic archetype can be

flipped to contradict itself whenever they find it so fitting. While global beauty standards still regard long hair to be a sign of “fertility” and thus male attraction, the female beauty “ideal” still cannot work its way from being one of seduction, danger, male entrapment, and lust.

Simonetta is depicted draped in precious commodities, wearing a pendant that was actually in the Medici jewelry collection at the time of the portrait’s commission.

Because of the elaborate adornments and detailed coiffure, historians believe that Botticelli had in fact created an idealized vision of Simonetta, even elevating her to the status of a goddess—which, with his previous depictions of Classical Greek scenes and figures, is not implausible. Not only does Simonetta’s gaze re-

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semble statues of Greek Idealism, but the necklace she is adorned with is referred to as “Nero’s Seal,” further contributing to her status as a contemporary Renaissance goddess. Simonetta’s stoic gaze is directed to the right, out towards something past the confines of the frame—as if she is unaware of her own beauty and the power it beholds.

While her gaze “elevates her,” it also distances her—the viewer is casting their gaze upon her, a gaze in which she is unable to meet or return. Thus, she becomes an object of visual indulgement—one set to look upon, to visually devour—an inanimate object unable to respond to the gazes thrusted upon her. Here, Simonetta is elevated to the status of a

goddess: one so lovely she will not meet your human gaze, yet one so isolated and distanced that she is vulnerable to it.

This sense of objectification worked in the favor of Vespucci, with her country empowering her to the status of a goddess, providing her with a platform to in turn capitalize her beauty, (as much as a woman could in the 15th century). Leading poets of the time such as Poliziano recorded her persona stating, “She had the sweetest and most attractive manner so that all those who enjoyed the privilege of her friendship thought themselves beloved by her.” It is apparent from multiple accounts that Simonetta’s essence and way of being in the world contributed to her national

adoration. Although she passed at age 23, Simonetta was a monumental figure in the Italian Renaissance, with the majority of her portraits being painted after her death. Instead of being known solely as the wife to Vespucci, or the mistress to Medici, she was the muse to Botticelli by way in which she made a name for herself.

She held her own identity, albeit initially promoted from a male view, her name was known individually… simply, Simonetta. It is safe to say that female autonomy has grown exponentially since the time of the Renaissance: we can work by ourselves, live alone unmarried, are no longer legally bound to our spouses as objects, and are no longer forced to live with a male rela-

tive or become a nun if we are unmarried. In our modern era, with more modes of social mobility and autonomy available within the female body, is beauty unrelated to the opportunities we receive?

Is it shameful to acknowledge beauty as one of the initial ways for women to break through their societally casted molds? It may be a stretch to label Simonetta as a pioneer of women’s rights; however there is no doubt that the girl worked her power to break through the limits initially thrust upon her.

While it is an irrefutable fact that the iconic muse was objectified, she was in fact empowered by the same exact cultural and conceptual core which objectified her. t

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When Science

Becomes the Muse of

Fashion:: Into the Mind of Iris Van Herpen

Anjali Krishna I clearly remember the first time I witnessed an Iris Van Herpen creation. It was in her first post-pandemic outing––a fungi-inspired collection titled “Roots of Rebirth”––and I sat glued to my computer screen.

Until that moment, I had yet to be truly inspired by haute couture. I loved to look at it and appreciated the pieces as artistic creations, but

science that showcases cutting edge material manipulations––heat pressing, laser cutting, 3D printing and the like.

“Biomimicry” is the word often used to describe IVH’s work, and she seems to have embraced it. A bolded quote on her website’s “About” page proclaims, “through biomimicry I look at the forces behind the forms in nature, these patterns and natural cycles are my guide to explore new forms of fem-

they didn’t make me want to dig deeper. There was something inherently different about Roots of Rebirth.

By the time look twenty-one (a dress absolutely covered in bouncing arrays of white fan-like tendrils) walked down the runway, I was hooked. I wanted, I needed, to know more about the artist and the way they worked. A quick google told me that this is what IVH was known for: an expert blend of fashion and

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Imagine a dress that becomes infinitely more detailed as you zoom in on the fabric.

ininity.” By “nature” Van Herpen doesn’t just mean those charismatic terrestrial biomes we are all familiar with: rolling hills, woodlands, mountain vistas. She often chooses to zoom in.

Biology is known for its layers, often called different “scales.” We can examine the world using these scales, ranging from the study of whole organisms down to the cellular and even molecular level. Van Herpen demonstrates her grasp of this concept in her collections, and to me, this is what makes her work so fascinating. Taking inspiration from the work of science photographer Steve Gschmeissner, she created a collection inspired by tiny microorganisms. “Micro” consists of IVH’s signature sculptural garments that, upon closer examination, become entrancingly detailed. A futuristic white mini-dress is made of thousands of smoothly overlapping rectangular panels. A nude outfit is covered in organic shapes made of incredibly thin, transparent sheets edged in black, which are arranged

and fanned until three-dimensional.

You will realize with further inspection that the base material of the dress is also textured. Is it meant to be skinlike? Membranous?

For a more direct contrast of two biological scales, cellular and organismal, we have only to look at “Sensory Seas,” IVH’s Spring Summer 2020 collection. By casting both marine organisms and the human central nervous system onto the same stage, IVH forces viewers to wonder at how these biological scales often mimic each other.

Dresses bob gently as they walk down the runway, the way a sea creature might propel itself through the depths. The same dresses are constructed of laser-cut layers and printed with imagery inspired by the drawings of neuroanatomist Ramón y Cajal. They could also resemble the living matrices of coral reefs, and this is intentional on IVH’s part; she selected the colors to convey just that image. For what it’s worth, I see sea foam—Cajal’s cells twisting into a bubbling ocean spray of

blue and green.

With an era of digital fashion on the horizon, Iris Van Herpen’s work seems especially relevant. Her use of physical material to represent the core ideas of both art and science is already masterful. Van Herpen has shown us her grasp of the biological scales, from the tiniest cell to the entirety of our globe in her latest collection, “Earthrise.” But what if she chose to work in a virtual medium? Imagine a dress that becomes infinitely more detailed as you zoom in on the “fabric.” A garment that transforms itself in front of your eyes in response to the firing of your neurons. Sound waves that bend around your body to clothe it in real time. The possibilities become endless. To see IVH extend her mastery into the virtual sphere would be incredible to behold, and it would help visualize the new relationships formed between life and technology as they twist ever closer together. t

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Dance Shoot

The concept of this photoshoot explores the intersection of fashion and dance as a medium for art-making and self-expression. Models were sourced from dance orgs on campus, inluding HYPE, KoDC, and FlyPeople. In selecting clothes with a more neutral color palette, the shoot highlights the dynamic relationship between movement of the body and the clothes themselves.t

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The Deconstruction of the Fashion Muse

By Julia Colón

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ook down at the clothing you picked out for today. Does it represent you? Would that same outfit represent you two months ago? Or two months from now? If the answer is no, you may be plagiarizing from an aesthetic that has been assembled for you by a single muse, rather than curating a unique sense of personal style—forgoing choice all together.

Fashion muses have influenced global clothing trends throughout history. Princess Diana, Cher, Jackie Kennedy, and Rihanna are all names that come to mind. Audrey Hepburn popularized the idea of the little black dress as we know and wear it today. Princess Diana put her own spin on the traditional LBD with her revenge LBD, as she radiated confidence in the Christina Stambolian

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design that forged her new image as a free and single woman. Her aesthetic can still be seen today as we continue to sport casual blazers and biker shorts with baggy sweatshirts.

These people were inspirations not only because of the clothing they wore, but because each look was an extension of themselves. Cher’s boldness, Audrey’s elegance, Diana’s charisma, and Rihanna’s versatility are forever present in their looks. Many of the trends they’ve created continue to stand the test of time. However, many trends we see and wear today last only weeks. The fashion muse has been deconstructed as TikTok and social media have gained popularity during the pandemic. Gen Z and millennials look at their fyp for fashion inspiration rather than individuals in the industry. While individuals were inspired by multiple fashion muses before, we now share the same one. She is not a person per say, but more of an idea created and perpetuated by our social media feeds. She is known as “that girl”.

“That girl” is best defined as the cool, trendy girl who has her shit together. TikTok’s ‘for you page’ is full of aesthetically pleasing “how to be that girl” morning and evening routines, complete with workouts, skincare, and healthy food. “That

girl” is the girl that all young women aspire to be and has become the lifestyle and fashion muse of this generation. Unlike previous fashion muses, she is used less as an inspiration and more as a blueprint.

“That Girl” rhetoric stems from the desire to invest in one’s well-being and success. Working out, dressing well, waking up early, and checking off every task on your to-do list are all ways to become “that girl.” However, what is presented as a lifestyle geared towards self-improvement is actually rooted in a culture of comparison and envy among women.

There is a performative aspect that goes along with becoming “that girl,” as many share that experience on social media, attracting attention from other young women. TikTok creators who have mastered the “that girl” aesthetic include Victoria Paris, Emily Mariko, Mada Graviet, and Lauren Wolfe among others, all of whom are white-passing for the most part. Using TikTok as a source of outfit inspiration allows users to find many fashion muses all at once. However, there is a lack of diversity among the creators that perpetuate and profit from this aesthetic, suggesting that whiteness is a criteria to become “that girl.”

Victoria Paris single-handedly sold out the new platform UGG Tazz slippers because she showed herself wearing them on her TikTok. Nothing against Victoria, but why does she dictate trends? Is it because her “fits” transcend all others? Probably not, but more likely due to the simple facts that she is white, thin, and wealthy, as well as gifted with the self-timer feature. A lot of aspirational consumerism occurs due to the “that girl” trend because these creators foster not only a desire, but a sense of pressure to be like them.

This plays a large role in overcon-

sumption generally, but especially within the fashion industry, and the UGG’s are just one example. Clothing purchases no longer reflect personal style, but rather, the collective desire to fit into the problematic mold of “that girl.”

Aspirational consumerism has become highly prevalent with the rise of “that girl” and social media. TikTok, more specifically, has largely contributed to the rapid turnover of clothing trends because specific clothing items are sensationalized globally overnight from a single post. Micro-trends generally have a lifespan of 3 to 5 years, but that lifespan is now about 3 weeks to 4 months. The green Hockney dress from House of Sunny is one example of this phenomenon. The dress’s slip silhouette, back cut outs, and abstract pattern garnered a cult-like following. It was sensationalized, sold out, and then worn one to three times by those who purchased it.

Fashion is meant to be an expression of self; however, when everyone is wearing the same thing, our sense of self is questioned. This is to be expected when a generation of young women are all attempting to emulate the same person. TikTok spreads information and ideas so quickly and vastly that “basicness” is inevitable. To avoid “basicness” we abandon one micro-trend for another that will become irrelevant just as quickly. It is a cycle that feeds off itself, and online stores like Shein and Romwe enable these consumer patterns.

This deconstruction of the fashion muse has made individual experimentation with trends exhausting and expensive, yet no one opts out.

There is no reason to do so when they can purchase cheap clothing items on Shein that will last about as long as the trend itself. Placing an

order on these websites may seem harmless, except for the unsustainable practices you are unknowingly contributing to. Most clothing fabric is made from synthetic materials that generally ends up in landfills, especially those made cheaply and without quality in mind. Those synthetic fibers will not decay and can end up polluting waterways and oceans. The fashion industry is responsible for 10 percent of all greenhouse gas emissions, which will most likely be exacerbated as trend cycles continue to occur more rapidly. Longevity and closet staples are a thing of the past. To a young person, investing in clothing seems unwise due to the shortness of trend cycles.

I find this outlook to signify a loss of individuality in the closets of consumers. We are no longer inspired by the qualities of past fashion muses that we admired. Young peoples’ participation in fashion is defined by a need to fit in rather than a desire to express oneself. This is reflected in the uniformity of clothing purchases among young women. Social media has always been over-saturated with fashion and lifestyle inspiration, but the pressure to purchase specific pieces is relatively new.

This isn’t to say that participating

in new trends is inherently bad or anti-individualistic. Participating in trends should be fun and inspiring, but recently it has felt overwhelming, and I don’t think I’m alone in that feeling. I enjoy the mini creative exercise of picking out an outfit everyday. Now, I go into my closet and feel like I need a complete refresh two months after purchasing new pieces. I decide I hate my wardrobe because I feel like I should, not because I actually do.

Recentering what inspires us as individuals is essential in preserving creativity and authenticity in our wardrobe. Search for your muse, whether it’s a person or idea, and do so away from social media. Your closet, wallet, and conscience will thank you for it. t

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Exec Board

Gina Pepitone Editor-in-Chief

Darling Garcia Beauty Director

Yasmin Mohamed

Beauty & Style Director

Zarina Guefack

Cherrie Chang

Style Director & Treasurer

Style Director

Parker Fairfield

Claire Arndt

Justin Davila

Isabelle Paquette

Keira DiGaetano

Arlo Povill

Andie Berkowitz

Morgan Stevenson Swadling Layout Director

Photo Director

Editorial Director

Media Director

Editorial Director

Media Director

Film Director

Media Director

Contributors

Models Alayna Grzybowski Anjali Krishna Anna Bishop David Alberto Dimple Kangriwala Ezra Venditti Fatima N’Diaye Hayley Craig Jack Pesqueira Janus Wong Justin Davila Lauren Thompson Linda Kim Maggie Dawkins Maia Huang Morgan Stevenson Swadling Onyinyechi Attah Rachel Sizeler-Fletcher Rhiannon Connor Sydney Salk

Photographers Abigail C Straus Alexa Gwyn Casey McDonough Fatima N’Diaye Gwen Ma Jeeho Kim Lily Tarrant Nicholas Gayle Sarah Tung Sophia Medina Sophie Meierovich Stylists Carissa Kolcun Favor Movel Lily Tarrant Talia Roman Writers Abigail C Straus Anjali Krishna Julia Colón Lily Tarrant Morgan Stevenson Swadling

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www.vassarcontrast.com

fall 2021