Zipped Magazine Spring 2018

ZIPPED S PRING 2018

SPRING 2018

ISSUE 21 | ZIPPED MAGAZINE

BRIEFS 06 GRANNY GUISE Raid your grandmother’s closet this spring

07 URBAN COWBOY Western looks made for your Walmart yodeling debut

08 FUCHSIA FACE-OFF Loud, fun hues for monolids exist beyond the runway

10 SIMPLICITY SELLS How beauty brands appeal to an aesthetic-obsessed generation

FEATURES 12 CODE OF MISCONDUCT Sexual harassment in the fashion industry in the wake of #MeToo

14 SUIT UP Dive in with this season’s swimwear trends

20 THE RIPPLE EFFECT Designer copycats and fast fashion knock-offs meet their match

22 ADVANCING ANDROGYNY Gender-fluid clothing reflects a cultural trend

24 NEW HEIGHTS Elevate your look with urban-meets-cozy styles

ENDINGS 34 SHELF LIFE Spring cleaning for your worn-out wardrobe

36 FINAL TOUCHES Three SU fashion design students show off their work 02

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left photographed by hannah meader, modeled by krista maloney (left) and gabby jimenez, krista swimsuit: vintage, scarf: vintage, earrings: urban outfitters, gabby swimsuit: zaful, scarf: madewell, earrings: zara bottom left photographed by rachel leclair, modeled by camilla borgogni, shoes: reebok, bottom right photographed by tayore ratsep, modeled by yerin kim, top right photographed by rachel leclair, modeled by pj bufkin, sweater: urban outfitters, overalls: bdg, cover photographed by rachel leclair, modeled by pj bufkin, sweater: urban outfitters, overalls: bdg, back cover photographed by rachel leclair, modeled by pj bufkin and camilla borgogni, camilla shirt: zara, jacket: eddie bauer, pants: ralph lauren polo sport, pj sweater: the group by babaton

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JACKIE HOMAN Editor in Chief MADISON BREAUX Editorial Director SABINA ADDIS Creative Director

HELENA ELSTON Fashion Director

FEATURES FASHION & BEAUTY TAYLORE RATSEP Assistant Fashion Director MARINA FERNANDEZ DE LA CUESTA Fashion Assistant CHLOE MARTIN Fashion Assistant JONATHAN CHAU Fashion Assistant

DANIELLE AGUGLIARO Features Editor NADIA SULEMAN Assistant Features Editor AMELIA LYTLE Assistant Features Editor DANIELLE CLOUGH Assistant Features Editor SANDHYA IYER Copy Editor

ANNIE O’SULLIVAN Assistant Web Editor STACI SOSLOWITZ Assistant Web Editor SANDHYA IYER Assistant Web Editor

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MIRANDA ROZEK Art Director

JACQUELINE SIMPSON Art Director

ALEXA DEPAULIS Designer

SAM REIMNITZ Designer

HANNAH MEADER Photographer

RACHEL LECLAIR Photographer

PUBLIC RELATIONS EMILY NORTH PR Director

WEB CONTENT HALEY MILLAN Site Director

PHOTO & DESIGN

BUSINESS BRI THOMPSON Ad Director TAYLOR RASHTI Financial Director

MELISSA CHESSHER Faculty Advisor

SARA JASKOT Event Planner SONIA WEE PR Assistant JONATHAN CHAU PR Assistant EMILY OATES PR Assistant

LETTER FROM THE EDITOR

photographed by cassie zhang

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hen I got my first inside glimpse of the fashion world at age 17, it felt glittery.

I attended a Teen Vogue -sponsored fashion conference in New York City and later a pre-college fashion journalism class at FIT. As I enrolled in the magazine program here in Newhouse, I thought the fashion industry seemed f lawless.

Throughout my past four years of studying, interning, freelancing, and working on Zipped , I’ve realized it isn’t always as sparkly as I once envisioned.

In this issue, we strip back the layers of the fashion and beauty industries, particularly areas that could use a lot of improvement. We delve into sexual harassment allegations in fashion in the wake of the #MeToo movement (“Code of Misconduct,” p. 12). We tackle the issue of fast fashion copycats and designer rip-offs that lead to an unsustainable industry (“The Ripple Effect,” p. 20). We examine what it’s like to be inundated

with beauty tutorials that aren’t ethnically inclusive and then provide our own with that mind (“Fuchsia Face-Off,” p. 08).

Still, demystifying the industry doesn’t have to be a bad thing. In this issue, we also uncover the secrets of marketing to millennials who favor authenticity (“Simplicity Sells,” p. 10), and we reveal how the deconstruction of gender norms in society translates to fashion (“Advancing Androgyny,” p. 22), creating a space for everyone.

As I approach graduation and enter “the real world,” I’m okay with letting the mystery of the industry fade away. Seeing the realistic and even sometimes negative sides of what I love keeps me constantly engaged — and gives me the opportunity to solve challenges in creative ways. While I’m still all-in for a pair of glittery shoes, my once glimmering eyes are a little bit clearer and ready to look toward the future.

Jackie Homan Editor in Chief ZIPPED

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BRIEFS

GET THE LOOK

BY JONATHAN CHAU

CHRISTOPHER KANE SPRING 2018

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1. SKIRT $188, J.Crew; nordstrom.com 2. EARRINGS$58,J.Crew; jcrew.com 3. SHOES $99, Naturalizer; lordandtaylor.com 4. JACKET $168, Free People;nordstrom.com 5.NECKLACE$35.90,Zara; zara.com 6. BAG $178, J.Crew; jcrew.com

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GRANNY GUISE

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GUCCI SPRING 2018

Frumpy florals and Sunday’s best, rebranded for spring 2018.

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URBAN COWBOY Take your style to the Wild West with structured denim and chunky hardware.

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COACH 1941 SPRING 2018

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5 1. TOP $118, Calvin Klein; calvinklein.us 2. EARRINGS $18, Urban Outfitters; urbanoutfitters.com 3. PANTS $49.90, Zara; zara.com 4. MULES $175, JeffreyCampbell;urbanoutfitters.com 5. BELT $68, Topshop; topshop.com 6. BOOTS $169, Zara; zara.com

CALVIN KLEIN SPRING 2018

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PHOTOGRAPHED BY TAYLORE RATSEP MODELED BY YERIN KIM

BRIEFS

Take on the challenge of a hot pink look, made just for monolid eyes.

BY YERIN KIM

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ver since I picked up my first eyeshadow palette, I’ve been afraid of branching out of my neutral shades and minimal makeup. I wouldn’t go near vibrant colors or a smoky eye, let alone test out the trends that graced the runway. I pored over eye makeup tutorials from my favorite magazines and on YouTube, only to find that they didn’t work for my monolids —an eye shape that appears to lack a crease, common among East Asians.

Endless hours of experimentation and stacks of palettes later, I’ve finally learned to master and embrace my unique eye shape. Bold, saturated shadows have been spotted all over the runways and on the red carpet, so what better time than now to try out the crowd-favorite fuchsia on my monolids? With the wisdom of makeup artist Rebecca Restrepo (whose clients include Lucy Liu) and online beauty forums (thanks, Reddit), Zipped is here to demystify the struggle of perfecting a bright smoky eye, particularly for our monolid readers.

PREP YOUR LIDS Before reaching for any pops of color, Restrepo emphasizes creating a “foundation for your lid.” Take a soft brown shadow one to two shades deeper than your skin tone and apply it from your lash line to right below the brow. This simple yet crucial step will create a shadowing to make your eyelids look deeper.

PICK UP THE PIGMENT When it comes to this eye makeup look, your biggest fear is probably looking like you have pink eye or you’re super exhausted. Avoid this altogether by choosing a bright, saturated shade. Go big or go home, right? Opt for a rich matte shade, like Maybelline’s Expert Wear Eyeshadow in Fierce Fuchsia. Start at your lash line and work your way up to the middle of your lid, blending seamlessly as you go. According to Restrepo, the key to expert blending is to be persistent and avoid going back for more shadow—keep blending until there is nothing left on your brush. If you’re going for the full smoky effect, line your bottom lash line with the same vivid shadow, connecting the top to the bottom of your lid.

DIAL UP THE DRAMA For hooded eyelids and monolids, water-resistant or waterproof eyeliner is so important to prevent smudging. Rest your liner on the base of your eyelashes and create short, connected strokes.

Once you reach your pupil, angle your liner upwards to create that f lawless, cat-eye f lick. Complete your look with tons of mascara, getting really close to the lash line. “When you have the lashes, they create a shadow, which creates the illusion of a crease,” Restrepo says. “That will completely open up the eye.”

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ARTWORK BY TAYLORE RATSEP

BRIEFS

Simplicity Sells Beauty brands are monetizing the Gen Y aesthetic through minimalism, authenticity, and of course, millennial pink.

BY MADISON BREAUX

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lossier’s Boy Brow eyebrow pomade doesn’t look like much from the outside. The tube’s nondescript design features a white base, silver cap, and the logo “Glossier.” written on the side. It’s simple. It’s declarative. It’s minimalistic. Most wouldn’t expect this product to have received awards such as Allure’s “Best of Beauty,” and Teen Vogue’s “Game Changer,” but Glossier has built a makeup and skincare empire around its millennial-centered marketing strategy.

Millennials make up 21 percent of the consumer discretionary purchases in this country, which rounds out to over one trillion dollars in buying power, according to MillennialMarketing.com.

And what is this generation buying? Makeup and skincare products.

More specifically, millennials are buying beauty products that have a certain aesthetic to the branding and packaging. If you take a look at the major beauty companies popular among millennials, like Glossier or Mario Badescu, you’ll find one thing in common: minimalistic design. Matt Cheuvront, a Gen Y blogger, wrote in a post, “Gone are the days of bright pink bottles with crazy typography that scream ‘look at me.’ Now we’re seeing rows upon rows of simple, clean, white bottles with easy to read fonts and clear ‘messages’ about what that product will do for me.”

Companies are taking note of what catches millennials’ attention, and they’re altering the image of their own brands to match these minimalistic ideals. For its new campaign, #IAmWhatIMakeUp, CoverGirl significantly simplified its product design. The company also recently announced plans to completely rebrand its makeup products, putting a larger emphasis on diversity and inclusivity — something the millennial generation values.

However, the secret behind understanding millennials’ beauty buying habits isn’t reliant on a particular shade of pink or certain typography. This generation loves aesthetically pleasing packaging but also values the brand’s attitudes toward beauty itself. The trick behind these hyper-successful makeup and skincare brands is their ability to reach into millennials’ minds and create branding strategies around the belief that less is always more. Beauty has become more

about embracing the individual rather than the products.

The beauty brands popular among millennials today aren’t encouraging women to spend a lot of time making themselves up.

Rather, brands like Glossier and lilah b. focus on enhancing natural beauty through a few essential products. Founder of lilah b., Cheryl Yannotti Foland told NYLON, “[Women] don’t need to be told that you have to buy these 15 products to layer on top of each other, and take an hour to get ready in the morning.”

There’s a reason Glossier sells out of its products, and it’s because the brand stays true to itself. Beauty brands have noticed that promoting a laundry list of must-use skincare and makeup products won’t attract the attention of millennials. Basic, simple, and authentic are the new names of the beauty game.

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SECTION FEATURES

CODE OF

MISCONDUCT

Unspoken stories of sexual harassment in the fashion industry are finally seeing the attention they deserve.

BY DANIELLE CLOUGH illustrated by alexa de paulis

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hen ’90s supermodel Ryan Locke was cast in a Gucci ad during Tom Ford’s time as creative director, he experienced the worst of photog rapher Mario Testino. Locke told other models he was ta k ing test pictures w ith Testino, and they warned that he was “notorious,” and said “tighten your belt,” Locke disclosed to The New York Times this past Januar y.

Before the test photos, Locke and Testino a llegedly arg ued about whether Locke should be fully nude for the pictures. Once Gucci hired Locke, he recounted Testino k ick ing ever yone out on the last day of the shoot before crawling on top of him and saying, “I’m the girl, you’re the boy.”

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had been sent to the account.

Locke was not a lone in his experience. The New York The account w rote on their Instag ram Times article listed 15 ma le models who claim Mario Stor y: “Creeps in the fashion industr y: Be Testino and photog rapher Bruce Weber engaged in sexua l a fraid. Watch yourself. Because the truth w ill misconduct. Model Leanne Hyer, who has worked w ith a lways come out. People aren’t a fraid of you Nicole Miller, Ted Ba ker, and Zac Posen, recounts an anymore. Time is fuck ing up. A nd it’s time experience a ma le model shared w ith her about Weber. “It for this bullshit to end.” Even though was a lmost exactly the same stor y as the ones coming out today,” Hyer says. “These photog raphers abused their power @shitmodelmg mt had the courage to put out over v ulnerable models for decades. A ll of us k new this stuff the list, the model behind the account remains was happening but were not in the position to say any thing.” anonymous to protect their identit y and their career.

“If you spea k out, especia lly if you are a fema le Renow ned fashion photog rapher Terr y Richardson has model, you are ‘ being diff icult,’ and the industr y w ill shame a lso been accused of sexua l misconduct by over a dozen you for it,” says Hyer, the model who reca lled her colleag ue’s people in the music and fashion industries for years, but negative experience w ith Bruce Weber. “You risk losing the accusations have been ig nored until recently. With work. Just like Holly wood, the fashion industr y runs on fear the surfacing of Har vey Weinstein’s sexua l abuse and hierarchy. The people at the top a llegations that made nationa l news who control the power and money last October and those who have since ma ke the rules.” been empowered to come for ward Due to the multitude of models w ith their ow n stories, Richardson’s that fashion powerhouses can choose behavior is f ina lly being ta ken from, models are expendable and can seriously. be replaced in an instant. The majorit y “‘Uncle’ Terr y Richardson is not of models in the industr y don’t have hiding what he does — in fact, he extensive platforms to share their photog raphs sexua l exploits and sells stories w ithout dire consequences to the prints for large sums of money their careers. The lack of a platform in ga lleries or publishes them in UK ma kes change diff icult. magazines,” says New York Cit y-based “Models do not have a union,” photog rapher Christopher Kolk, who explains Hyer. “Big fashion labels has contributed to Vogue and People. ta k ing a stand are the f irst step in “His behavior is well-k now n in the ending abuse because they have the industr y. It is a lmost considered a money. A gencies and agents w ill follow joke.”

—MODEL LEANNE HYER their lead.”

Now, leaders are ca lling nationa l LV MH, a European multinationa l attention to the issue. In Januar y, conglomerate that ow ns brands Phillip Picardi published an inter view like Louis Vuitton and Hennessy, a long w ith Kering, an on them ., Condé Nast’s next-generation communit y internationa l lu xur y-based g roup in Paris, collaborated on, platform, w ith renow ned casting director James Scully, “The Charter on the Work ing Relationships w ith Fashion discussing the abuse in the fashion industr y.

Models and Their Well-Being.” The Charter is aimed to “You hear a g roup of boys ta lk ing about, ‘Oh I’m ensure the well-being of the models work ing for these work ing w ith that person today,’ and they’re like, ‘Here’s companies and address the issue of misconduct plag uing the how you avoid…’ The fact that they a lready had their ow n industr y. net work, that that even exists? The f irst time I heard that Brands such as Burberr y, Michael Kors, and Condé conversation, that was the ‘a ha’ moment for me,” Scully Nast have ended professiona l relationships w ith the said to them. accused photog raphers. It’s a positive step that brands are A n anonymous model on Instag ram, under the cutting ties, but a fter a ll of the claims from those who have handle @shitmodelmg mt, created their account to ta lk experienced sexua l misconduct, it’s hard to believe that the about the hardships of being a model. In early March, fashion industr y hasn’t been aware of this issue and ig nored @shitmodelmg mt published a black list warning models to it a ll a long. stay away from 290 names, compiled from abuse stories that

“JUST LIKE

HOLLYWOOD, THE FASHION INDUSTRY RUNS ON FEAR AND HIERARCHY.”

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Standout swimwear and ’50s-inspired accessories rule the pool this spring. photographed by hannah meader modeled by krista maloney (left) and gabby jimenez ZIPPED

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swimsuit: vintage, scarf: vintage, earrings: urban outfitters

swimsuit: zaful, scarf: madewell, earrings: zara

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swimsuit: vintage, caftan: vintage, necklace: jewelmint, sunglasses: ray-ban

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swimsuit: amazon, jacket: vintage, necklace: vintage, sunglasses: amazon

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What happens when designer inspiration turns into fast fashion duplication?

BY JONATHAN CHAU

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ver yone w ill be wearing desig ns from the Jacquemus Spring 2018 collection in time for the warm weather — even if they aren’t from Simon Porte Jacquemus himself. That’s because the asymmetrica l, yet simplistic draped dresses, exceedingly exaggerated strawwoven hats, circular and geometric-shaped heels, and other “La Bomba” st yles have a lready hit fast-fashion and sma ll labels including Zara, Mango, and Tuchuzy. A nd Diet Prada has noticed.

A nonymous Instag ram account Diet Prada stands as a newly prog ressive voice in fashion, ca lling out brands like Tuchuzy for clearly copying other desig ners, like Jacquemus. This April, the snark y page w ith nearly ha lf a million followers pointed out the stark similarit y of Tuchuzy’s draped, spaghetti strap dress to one from

FEATURES Jacquemus’ Spring 2018 collection, spark ing a debate about the line bet ween generic st yles and direct copycats.

Because the internet and socia l media a llow for runways, desig n ideas, and collections to be so accessible, accounts like Diet Prada have become necessar y watchdogs. The co-founders of the Instag ram page saw the increasing mimicr y and reg ular cultura l appropriation that had started to infect fashion in the digita l era. A s a response, they created Diet Prada in 2014, shrewdly commenting on contemporar y issues in the industr y. Their Instag ram bio snidely explains what the account is a ll about: “ppl k nock ing each other off lol.”

The account took off in popularit y a fter it criticized the collaboration bet ween Va lentino and Terr y Richardson, ca lling out recent sexua l assault a llegations against the photog rapher. Since then, Diet Prada has fully established itself as the modern fashion police and captured the attention of the fashion industr y, gaining celebrit y followers like Eva Chen, Marc Jacobs, and Gigi Hadid.

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Anonymous Instagram account Diet Prada is not afraid to call out anyone, even accusing luxury brands of copying other luxury Brands.

Clearly, the account is not a fraid to ca ll out anyone, and it even accuses lu xur y brands of copying other lu xur y brands. Dolce and Gabbana was agg ressively criticized

by Diet Prada a fter the duo desig ned a black sweater w ith a g ray panther for their Fa ll 2016 collection, strik ingly similar to Gucci’s g ray sweater featuring a tiger from Cruise 2016. Stefano Gabbana commented on the Diet Prada post and demanded an apolog y. But the cult account continued to push the feud, illuminating problematic comments from Gabbana’s past, desig ning a t-shirt mock ing Gabbana, and recording themselves lighting a D&G tag on f ire.

The ubiquit y of copycats poses a question of ethics, w ith the current fast fashion climate heavily exploiting the abilit y to quick ly reproduce desig ner clothes. Major companies like Zara, A SOS, and H&M ta ke “inspiration” from collections on the runway and incorporate their ideas, sometimes a lmost identica lly, into their ow n desig ns.

Because fashion desig ns are not completely protected by copy right, there is limited lega l reg ulation. Yet in recent years, more fashion houses are attempting to sue copycats on copy right infringement, trademark dilution, and unfair competition. Gucci and Forever 21 have been in lega l battles since Aug ust 2017. The desig ner powerhouse origina lly sued Forever 21 a fter the fast-fashion chain used black and red stripes on clothing. Forever 21 countersued, stating that Gucci is monopolizing the commonly used pattern and colors.

A s of this Februar y, Forever 21 has a leg up on the case, w ith the court ruling that Gucci’s use of stripes do not function as a trademark.

W hile it is diff icult to decipher whether brands gain inspiration from or are actively copying other collections, Diet Prada isn’t a fraid to keep desig ners in check. The account has exposed Tibi for clearly copying other desig ners to the point of naming it a “tribute brand,” an insult implying that it doesn’t even have its ow n creative identit y. First, the account ca lled out Tibi creative director A my Smilovic for mirroring Celine’s silhouettes and patterns. A s the cycle continued, the account noted earlier this year that Tibi’s Pre-Fa ll 2018 collection mimicked Ba lenciaga’s. With perhaps one of its harshest captions, Diet Prada shot dow n Tibi, w riting, “Once a @ celine tribute brand, now a @ba lenciaga tribute brand.

Smilovic remi xes it just barely enough to ca ll it her ow n.”

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ADVANCING ANDROGYNY A cultural shift toward fluidity calls for the rise of agender fashion.

BY AMELIA LYTLE illustrated by jacqueline simpson

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ith Alessandro Michele’s first collection as creative director of Gucci in 2015, the world watched him push aside gendered clothing. His male and female models walked the runway in similar florals, lace, and ruffles. As models strutted in the same suit pants and blazers, gender went easily unnoticed. Androgynous style began to gain momentum.

In the fall of 2017, Michele took it a step further and completely combined his womenswear and menswear shows. “It seems only natural to me to present my men’s and women’s collections together.

It’s the way I see the world today,” Michele said in a statement from the brand. By interchanging the gender of the models and the clothes, the segregation of men’s and women’s clothing faded away.

Androgyny in fashion is no accident. As fashion represents the world around us, gender fluidity and the rejection of gender norms is becoming increasingly commonplace. Clothing is starting to reflect this shift — with Gen Y leading the conversation. A recent poll by Fusion found that about 50 percent of millennials surveyed believe gender exists on a spectrum. Society’s increasingly open-minded view of gender helps redefine the outdated idea that a dress is explicitly feminine. This resonates with younger generations because anyone can wear what appeals to them regardless of gender.

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“

With no separate men’s and women’s sections, the clothes are designed for all people.

One brand embracing androgyny for the average consumer is Hood By Air. The streetwear brand featured both male and female models walking in the same show, while wearing the same skinny jeans, tank tops, baggy pants, and button-up shirts. Gender takes the back seat as fashion and self-expression capture the audience’s attention.

With more brands introducing non-gendered clothing, it’s easier for customers to incorporate true androgyny into their wardrobes.

The high-end London department store, Selfridges, opened a space within their store, Agender, meant to create a genderless shopping experience. With no separate men’s and women’s sections, the clothes are designed for all people. The brand names are hidden so customers won’t be swayed by gendered ideas of what styles are meant for them.

Agender sells unisex collections created by Selfridges, as well as 40 other existing brands that can be worn by any gender. This section has been so successful that Selfridges is considering making it a standalone store.

Celebrities have been catalysts for integrating androgyny into everyday wear. If well-known faces adopt the trend into their style, the public may gain the confidence to follow. Singer Harry Styles is a walking example, wearing floral and bright pink suits to performances and chiffon blouses as his daily style.

Jaden Smith also famously embraces androgynous dressing. He appeared in the Louis Vuitton womenswear Spring/Summer 2016 campaign wearing a skirt. He was featured on the cover of NYLON in a sheer lace turtleneck, and he speaks publicly on his style choices. He tweeted in 2015, “That Moment When Your (sic) Wearing A Dress With No Pants And You Swerve Way To (sic) Hard.”

Consumers clearly have the desire for easily accessible genderfluid clothing. Styles come and go with time, but androgynous attire is here to stay as a reflection of a cultural movement. This isn’t a trend people will move on from in two seasons. It may take some time and even bravery from people who want to adopt this fluid way of dressing, but it’s clear that the shift has already begun.

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camilla overalls: guess, shoes: reebok, sweater: vince

Channel the softer side of the city with cozy knits, pops of pastel, and light denim. photographed by rachel leclair modeled by pj bufkin and camilla borgogni

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camilla shirt: umo style, belt: h&m, pants: calvin klein

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pj shirt: china girl, pants: asos, shoes: nike air max, belt: kohl’s

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shirt: nautica, belt: kohl’s, pants: levi’s

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camilla shirt: zara, jacket: eddie bauer, pants: ralph lauren polo sport, pj sweater: the group by babaton

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pj overalls: bdg, jacket: brownstone woman

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camilla jumpsuit: free people, jean jacket: j. brand ZIPPED

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Every crop top has its final day — here are four options for when it’s time to say goodbye.

BY DANIELLE AGUGLIARO illustrated by jacqueline simpson

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ake a look at your closet and consider how many items you wear on a weekly or even monthly basis. Chances are you’re like the majority of the population, and you’ve accumulated too many clothes for one person. The buildup might be because you’re not sure how to begin getting rid of all of it, or perhaps a piece has sat damaged in your closet with the half-hearted thought of a tailor in the back of your mind. Here’s what you can do to streamline your closet before summer sets in.

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REPAIR THEM

TRADE THEM

This may seem like a daunting option if you’ve never thought of yourself as particularly crafty. But if you’re getting rid of a piece of clothing because of a simple tear or broken zipper, why not try to fix it? You’ll end up saving time and money by not having to go out and buy a replacement item, and you can keep one less garment out of the landfill. YouTube videos are really useful here, showing easy fixes for the most common damages. And if you don’t have the tools, you can buy a repair kit from brands like Patagonia that can be universal for any outerwear.

Sometimes clothes that seem tapped-out to you could be a welcome new addition to a friend or family member’s wardrobe. Refresh your closet by swapping pieces with friends who inevitably also get bored of their own styles. If you’ve grown out of something, size or style-wise, hand it down to someone who will appreciate your old looks.

SELL THEM

After this closet overhaul, the best thing you can do is shop smarter.

Look for high-quality or vintage pieces that you’ll want to keep for years, not just trendy items that go out of style in a month. The more thought you put into your purchases, the less closet claustrophobia you’ll have in the future.

On top of the environmental benefit, selling your clothes can lead to extra income. It’s a win-win situation; you’ll make some money while letting someone else enjoy the clothes you don’t wear anymore. This especially works for that dress with the tag still on, that you know will never fit right. Items you’ve never worn, or wore once and then stashed away, are the perfect resell candidates for websites and apps like Poshmark, Tradesy, Depop, and thredUP.

RECYCLE THEM When clothing is too worn to pass down, the best thing to do is recycle.

There are clothing donation bins and Goodwill drop-off locations in most parts of the country, but if you’d rather donate from the ease of your own home, try an online donation system. RefRecycling, from the clothing brand Reformation, allows you to print a shipping label, fill a box with old clothes, and send it out for free.

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Meet three SU fashion design students completing their senior collections.

BY MADISON BREAUX

What was the inspiration behind your collection?

My collection is for both men and women. It’s based on my faith; I grew up in a very religious household. It’s completely sheer for the most part, and it starts off with this really abstract piece that’s supposed to represent an aura — for me, faith has become less concrete and more of a feeling that surrounds me. As you progressively move to the end of the collection, it’s less abstract and more familiar.

What advice would you give to your younger self?

Relax and enjoy Syracuse more. When I got here, I spent a lot of emotional energy focusing on track, and I would get anxious about things. I don’t think I let myself enjoy being here as much as I should have.

What are your post-grad plans?

Graduate school — I want to go into fashion communications because when I was originally applying to schools, I was between fashion and film. So, I potentially want to work more in the film side of the fashion industry.

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What was the inspiration behind your collection?

The concept behind my six-piece collection is inspired by the poem “A Dream Within A Dream” by Edgar Allan Poe. The poem resonates with my own life by touching upon the idea that nothing in reality is concrete. Our lives and experiences feel like dreams, and sometimes it can be difficult to decipher between reality and illusion. My colors, silhouettes, and fabric details reflect the dramatic imagery in the poem.

I focus on asymmetrical shapes, jewel-toned colors, embroidery, and tailored corsets and jackets.

What advice would you give to your younger self?

Take risks and participate in projects that are out of your comfort zone.

What are your post-grad plans?

I want to explore all of my options. I would love to move to London and complete an M.A. in a specified fashion field like textiles or knitwear.

What was the inspiration behind your collection?

My collection is catered toward conservative women or women of faith who feel limited with their wardrobes. This is a modest line of clothing inspired from my South Asian culture with a mix of Western culture.

My goal is to show a line of clothing that is conservative yet sexy, to make women feel beautiful, confident, and empowered.

What advice would you give to your younger self?

Be more confident in yourself. Never give up and keep working on your passions and dreams. Know what your goals are, and you will reach them. It doesn’t matter what those around you are doing or saying — don’t let them deter you.

What are your post-grad plans?

Post-grad, I plan on getting a full-time job in the fashion industry working alongside a designer. I want to absorb and learn as much as I can until I can have my own line of clothing.

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