ZIPPED F A LL 2017
ISSUE 20 | ZIPPED MAGAZINE
BRIEFS 06 GET THE LOOK Upgrade your wardrobe with shiny vinyl and all things glitzy
08 FROSTBITE Embrace the trend that will have you glowing all autumn long
10 CRYSTALLIZE Introducing minimal-effort glitter to sparkle on the go
11 GLOW UP Restore your skin with these five reviving serums
FEATURES 12 TECH FUSION Fashion and technology merge to form a new wave of design
14 EYES ON US Stand out from the crowd in this season’s boldest textures
22 THE BOND OF BEAUTY Exploring the unique bonds of cultural beauty rituals
24 TALKING BODY New regulations are monitoring models’ sizes
26 GAME OVER Channel your inner runaway with a touch of cyber punk inspiration
ENDINGS 36 SISTER, SISTER Meet the stylish siblings taking Instagram by storm
37 Q&A WITH GABRIELLE KORN NYLON’s editor in chief is revolutionizing digital media 02
TABLE OF CONTENTS
middle left photographed by hannah meader, modeled by allie wojnowski, makeup by dylan myones, allie top & scarf thrifted, pants by nick coleman, shoes by vans bottom middle photographed by hannah meader, modeled by valerie torres, makeup by dylan myones, valerie dress by vintage moschino, top by out from under, top right photographed by taylore ratsep, modeled by brittany belo, brittany dress by zara, earrings by etsy cover photographed by hannah meader, modeled by allie wojnowski, makeup by dylan myones, allie dress &stockings by urban outfitters, top by julien david back cover photographed by hannah meader, modeled by allie wojnowski, makeup by dylan myones, allie dress & stockings by urban outfitters, top by julien david
JACKIE HOMAN Editor in Chief MADISON BREAUX Executive Editor SABINA ADDIS Creative Director
HELENA ELSTON Fashion Director
FASHION & BEAUTY
PHOTO & DESIGN
DYLAN RHEINGOLD Assistant Fashion Director
ADELAIDE ZOLLER Features Editor
MIRANDA ROZEK Art Director
TAYLORE RATSEP Photographer
MARINA FERNANDEZ DE LA CUESTA Fashion Assistant
HANNAH MALACH Features Editor
ELIANA RONEY Art Director
HANNAH MEADER Photographer
TAYLORE RATSEP Fashion Assistant
NADIA SULEMAN Assistant Features Editor
JACQUELINE SIMPSON Art Director
CASSIE ZHANG Photographer
SANDHYA IYER Copy Editor
WEB CONTENT YERIN KIM Site Director
EMILY NORTH PR Director
ANNIE Oâ€™SULLIVAN Assistant Web Editor
ANNAYA ENGLISH Ad Director
KRISTEN HURLEY Event Planner
STACI SOSLOWITZ Assistant Web Editor
TAYLOR RASHTI Financial Director
MEGAN SHELTON PR Assistant
SARA JASKOT Assistant Web Editor
MELISSA CHESSHER Faculty Advisor
LETTER FROM THE EDITOR
photographed by cassie zhang
wo steps forward, one look back. During a particularly stressful night this semester when my to-do list seemed neverending, my mom sent me a photo of a colorful to-do list I had made when I was six. The items on my agenda back then were simpler — “play outside,” “draw a picture,” and “a craft” — but across the top of the page in big letters, I wrote, “I’ll do it all!” That’s the energy I carried into Zipped for my first semester as editor in chief. I wanted us to go big with our fashion shoots, cover new and exciting topics, and experiment with a more maximalistic design. With the enthusiasm and talent of my incredible team, I’m proud of what we accomplished — feature stories with captivating interviews, fashion and beauty looks that break the rules, and a design that emphasizes the edge this issue radiates. Throughout the issue, you’ll meet some of the people making great strides in the industry: the fashion houses imposing new rules to better
protect models (“Talking Body,” p. 24); the designers innovating with new technologies (“Tech Fusion,” p. 12); and the editor using her platform to talk about serious issues (“Q&A with Gabrielle Korn,” p. 37). But in this age of high-tech advancements and social media inf luencers (“Sister, Sister,” p. 36), we could all use a little nostalgia. This season’s beauty look draws on the past — we channeled the early 2000s frosty makeup trend and put a fresh fall spin on it (“Frostbite,” p. 8). For “Game Over,” we took the eccentricity of punk fashion and put a ’90s cyber twist on it — think digital revolution meets runaway rebellion (p. 26). And in “The Bond of Beauty,” (p. 22) we look back at traditions and upbringings to explore how beauty rituals shape us. I hope this issue encourages you to take a peek back at where you’ve been, celebrate it, and keep marching forward. Enjoy!
Jackie Homan Editor in Chief ZIPPED
GET THE LOOK COURRÈGES SPRING 2018
BY MARINA FERNANDEZ DE LA CUESTA 1
1. DRESS $59.99, Mango; mango.com 2. BAG $29, Asos; asos.com 3. SHOES $85, Converse; urbanoutfitters.com 4. BOOTS $72, Asos; asos.com 5. TOP $40, Topshop; topshop.com 6. JACKET $99.99, Mango; mango.com
ON THE RECORD
Retro meets futuristic with this season’s seductively slick vinyl vibes. LANVIN FALL 2017 06
OFF THE CHAIN Channel your inner 2000s socialite with skimpy straps, glitzy boots, and lots of jewels. 3
KENDALL JENNER 2016
5 1. EARRINGS $10, Nasty Gal; nastygal.com 2. TOP $36, Nasty Gal; nastygal.com 3. DRESS $130, Topshop; topshop.com 4. BAG $60, Topshop; topshop.com 5. BOOTS $299.95, Steve Madden; stevemadden.com 6. NECKLACE $28, Urban Outfitters; urbanoutfitters.com
6 BALMAIN FALL 2017
photographed by cassie zhang modeled by erin riley hair & makeup by kelly callahan
erin wears the frosty look
FROST BITE The icy ’90s look is warming up this fall.
Cringing at the thought of frosty makeup? Never fear — the ’90s and early ’00s may have bred the iconic look, but Zipped is here to give it a fresh fall reprise.
Thanks to better light ref lection and smoother finishes, the frosty lip products of today are less artificial than those from our childhood. Avoid chalky pinks and blue hues, and instead opt for lipsticks and glosses with warmer undertones, like bronze or copper. “Layer a frost color over your favorite lip product by dabbing it with your fingertip,” advises makeup artist and YouTube sensation Stephanie Ledda. “That way it’s more natural looking, and you can always add more to intensify.” If you’re still nervous about going all-in with a new product, give the look a commitmentfree test run by dusting gold eye shadow over clear lip gloss.
BY ADELAIDE ZOLLER
When it comes to highlighter, those with lighter skin should stick to silvery hues. For medium skin tones, golden colors are ideal, while products with copper or bronze undertones f latter darker skin tones. A champagne highlighter works wonders for a large range of skin tones. Ledda recommends the BECCA Après Ski Glow Face Palette ($54, Sephora), which features a range of highlighters. Dust it on your cheekbones and the tip of your nose for the best effect. For the rest of your look, try blushes with pink and plum undertones. Makeup artist Molly Stern, who has worked with Reese Witherspoon, Zooey Deschanel and Lily Collins, tells us the key to using blush is applying it where your face naturally f lushes: the apples of your cheeks.
For eye shadow, follow the same rule as the highlighter: choose a shade slightly lighter than your skin tone and dust it over your eyelids and in the corners of your eyes to make them pop. We suggest using the MAKE UP FOR EVER Diamond Powder in Champagne ($25, Sephora) for a dramatic glittery eye with a frosted effect. Coat your lashes with black mascara, and add black or charcoal eyeliner to finish off your frosty fall look.
1. NYX Liquid Crystal Body Liner ($4.49, Ulta) Glittery eyes stole the spotlight on runways at Balmain, Elie Saab, and Alexis Mabille during fall 2017 Paris Fashion Week. If you just want to dip your toes in the trend, try the Crystal Body Liner by NYX — the formula’s clear gel with suspended glitter keeps the look subtle.
2. Stila Glitter and Glow Liquid Eye Shadow ($24, Sephora) This formula is the travel-friendly version of the brand’s Magnificent Metal Foil eye shadows. “It stays on all day, and you don’t even need a primer,” says Sephora product consultant Medina Ferizovic. It has an all-in-one glitter and cream base, which creates fully opaque coverage in a single swipe.
Take your glitter on the go with these hassle-free eye products.
By Nadia Suleman
3. Touch in Sol Metallist Liquid Foil and Glitter Eye Shadow Duo ($25, Sephora) This Korean beauty find is perfect for a foiled 3-D eye shadow look. Use the cream eye shadow as a first layer, and place the foil flakes on top to amp up the reflection. 4. Urban Decay Liquid Moondust Cream Eye Shadow ($22, Sephora) The Liquid Moondust eye shadow by Urban Decay is a reinvention of the original Moondust formula with a convenient brush tip applicator. All of the shades are duochrome, so they shift in color as your eyes move. 5. Revlon PhotoReady Eye Art ($9.99, Ulta) This product features a double-ended wand that has both a cream shadow to use as a base and a coordinating glitter to layer on top. 6. LUSH Eyeliner in Fantasy ($24.95, lushusa.com) For all of the vegan and cruelty-free beauties out there, this eyeliner by LUSH is an all-natural way to give your eyes a golden molten-metal finish. 7. Wet n Wild Color Icon Metallic Liquid Eyeshadow ($4.99, wetnwildbeauty.com) Another more affordable cruelty-free option is Wet n Wild’s limited-edition, highly concentrated liquid shadow. With its metalized, foiled effect on the eyelids, it’s the perfect choice for high-impact shimmer.
Give your beauty routine an update with refreshing face serums and oils.
The key to better skin care is to develop your beauty regimen now. Oils and serums, while often overlooked in favor of toners and cleansers, are vital additions to your daily routine. “It’s important to start a great skincare regimen at a younger age because you are protecting your skin from future damage,” says Natalie Barras, National Account Manager for L’ORÉAL. These underappreciated products cleanse, hydrate, and relax your skin, ultimately leading to a healthier, happier you.
BY SARAH FELBIN
1. L’ORÉAL REVITALIFT TRIPLE POWER CONCENTRATED SERUM, $24.99
This serum uses hyaluronic acid to smooth out your complexion and reverse signs of aging while you sleep. “In one week, you will see more even skin tone, and your texture will appear smoother,” Barras says. “I use it daily. I love that my skin tone has evened out from extended usage.”
2. BURT’S BEES FACIAL CLEANSING OIL, $16
Perfect for normal to dry skin, Burt’s Bees’ cleanser easily removes makeup with minimal scrubbing. Coconut and argan oils maintain the skin’s softness without leaving any unwanted residue or a “tight” feeling behind.
3. LUSH FULL OF GRACE SERUM BAR, $16.95
Not just an intense, lightweight moisturizer, this serum bar by LUSH also tones and soothes using 100 percent natural ingredients. Great for those with extra-sensitive skin, Full of Grace is made with chamomile blue oil and calamine powder to calm the skin and control greasiness.
4. BAREMINERALS BARESKIN PURE BRIGHTENING SERUM FOUNDATION, $30
This is not your average foundation. The tone-correcting serum formula can be customized based on how much you use, so whether you’re looking for sheer or full coverage makeup, you can wear what’s right for you.
5. HERBIVORE BOTANICALS LAPIS FACIAL OIL, $72.00, or ROLLER, $26
This tried-and-true oil is ideal for anyone with acne or redness. A moisturizer with antibacterial and anti-inflammatory ingredients, this product perfectly balances your skin. Not a fan of the price tag? It also comes in a smaller, more convenient size with a rollerball for easy application. One last tip: “If you apply a serum or oil, allow it to sink into your skin before applying moisturizer,” says Barras. “A trick many people use is to put the serum or oil on first, then brush your teeth before moisturizing. Perfect timing to get the full benefits out of both!”
FASHION AND TECHNOLOGY ARE NO LONGER MUTUALLY EXCLUSIVE. BY MADISON BREAUX
magine that just by tapping the sleeve of your jacket you could change the song you’re listening to or answer an incoming phone call. With a Google and Levi’s partnership, anything is possible. Their new Project Jacquard initiative includes clothing with interactive yarns that communicate with the wearer’s smartphone. This smart fabric innovation is only a small glimpse into how technology continues to revolutionize the fashion industry. In the past few years, technological elements have been incorporated into everything from daily activewear to haute couture, and this phenomenon shows no signs of slowing down. Fashion moves fast, but technology seems to be moving even faster by expanding into new aspects of the industry. The number of investments in fashion technology has risen from $50 million in 2009 to $2.8 billion in 2014, paving the way for progressive innovations. This has resulted in the conception of previously unthinkable advancements in the world of fashion. One might expect the merging of fashion and technology to result in tacky and unwearable inventions, but that’s not the case. The buzz of tech wearables such as the Apple Watch has simmered, making way for the new advancement: smart fabrics. The idea of smart fabrics is to make the technology invisible by weaving it into the actual clothing, like with Google and Levi’s Project Jacquard. The project further fuses the gap between fashion and technology by using elements of both areas to create a new generation of wearables — one that takes style and taste into account. Their Commuter Trucker Jacket comes in men’s and women’s styles and sells for about $350. Technology has also made its way to the runway. Avant-garde designer Iris van Herpen created translucent metal weaves of stainless steel and silk for her autumn/winter 2015 ready-to-wear line. The process resulted in unique coloration and texture of the fabric. Van Herpen’s creative use of materials shows that technology doesn’t just have to be used in terms of function but can also help designers reach new, uncharted aesthetics. Last year, fashion house Marchesa collaborated with IBM’s Watson supercomputer to create a dress that lights up and switches colors based on social media activity. Using a small computer to analyze tweets about the dress, the color of the gown changed according to the emotions of the posts. When it comes to fusing fashion and tech, designer Zac Posen, the creator of Claire Danes’ light-up dress at the 2016 Met Gala, stands at the forefront of the movement. He made history as the first fashion designer to speak at the annual Adobe MAX conference in San Diego in 2016, where he discussed the power. He also discussed the power of technology to expand the aesthetic possibilities of fashion as well as to improve the designing and manufacturing processes. Posen believes that fashion and technology will continue to combine as virtual reality and artificial intelligence evolve. The designer told Women’s Wear Daily, “As the world is evolving into tech, you can’t fight it. You have to embrace it, use it. It has to be symbiotic.” Leading the pack in terms of fashion development is threeASFOUR, a team of three designers who have made it their mission to create a legacy around cutting-edge technology and traditional fashion craftsmanship. The brand has been using 3-D
printing technology to create collections of dresses that have both durability and flexibility. Designer Gabi Asfour has explained that their 3-D printing allows them to create a new type of textile that previously did not exist, redefining what is possible in the world of art and fashion when using technology. The brand wishes to change the way people think about about design on a larger scale. One of team’s creations, the Harmonograph 3-D printed dress, forms around the body in three different spirals, giving the garment a geometric style. By combining geometry and mathematical algorithms, threeASFOUR completely relied on the new possibilities provided by multi-material 3-D printing. One of the designers, Adi Gil, stated the interwoven pattern of the geometry could not have been produced using traditional methods of manufacturing clothing, so the brand created a completely new process specifically designed for 3-D printing. It’s interesting to see two of the world’s most rapidly evolving industries mesh together, but there are concerns that technology compromises the true art of fashion and style. Some in the industry, like Posen, welcome the idea of change and evolution in favor of technology; however, there are others who still believe in the traditional practices of luxury fashion. “When we talk about luxury, we have a problem. We are talking about heritage, about a traditional way of storytelling, and all of that is very antithetical to innovation, to technology, to efficiency,” says Pauline Brown, former Chairman of North America LVMH Moët Hennessy Louis Vuitton and senior lecturer at Harvard Business School. Even though opposition to the incorporation of tech into fashion exists, it’s hard to resist revolutionary change when many of the classic couture houses are embracing it. Regardless of your stance on the validity of high fashion in this exciting new era, it seems as though the industry won’t be slowing down anytime soon.
ILLUSTRATIONS BY DYLAN RHEINGOLD ZIPPED
STAND OUT FROM THE CROWD IN THIS SEASONâ€™S BOLDEST TEXTURES.
photographed by taylore ratsep modeled by brittany belo and fiona lenz brittany dress: zara, earrings: etsy fiona dress: beulah, necklace: chan luu
brittany top: forever 21, pants: thrifted, necklace: topshop, shoes: adidas
fiona top: topshop, dress: laura adams, necklaces: nyc street market (stone), urban outfitters (silver)
When we share beauty rituals, we share a part of ourselves. BY ARIEL WODARCYK
y mother has been going to the same hairstylist for almost 20 years. Since early high school, my best friend has gotten her hair cut and straightened by the same auntie. Another friend, a licensed therapist, considers her hairstylist her own therapist of sorts and even invited her to her wedding. Our physical appearances and the way we take care of them hold so much weight. Often, the upkeep we do to look and feel our best is performed in private. Think about the hours of your life you’ve spent inspecting every pore, stray hair, and acne spot in the unforgiving presence of a magnifying mirror. Double that amount of time for masking and taming and smoothing these perceived f laws and enhancing the features you, or those around you, accept. When we share this experience with others, allowing them to massage shampoo into our scalps and smooth creams and powders over our faces, we are sharing a part of us that everyone else can see. We know what works for our hair, our skin, our nails, and when we don’t, we put an enormous amount of trust in those we allow to handle these physical details of ourselves.
As Marita Golden wrote in her essay, “My Black Hair,” for author Elizabeth Benedict’s book Me, My Hair and I, many African groups believe that a person’s spirit lives within his or her hair, and “the hairdresser is considered the most trustworthy individual in society.” Beauty rituals often make us feel closer to the person performing them because of where they take place, whether that’s the salon, the family kitchen, or a friend’s bedroom. Part of this is due to our lingering animal instincts. “Mutual grooming offers pleasurable and practical benefits,” says Joanna M. Setchell, an anthropology professor at Durham University. “Studies show that it reduces stress levels and increases endorphin release in primates.” Many beauty rituals have been passed down for centuries, starting with the intricate art of African hair braiding. Braids have been used to distinguish tribes and heritage and are now worn as protective styles and to make a fashion statement. Older generations of women pass down the craft of braiding to their daughters, and the art is one of the most prominent beauty traditions in the black community. The most complex styles,
sometimes known as hair sculptures, can take hours or even days to complete. In Esi Sagay’s book, African Hairstyles: Styles of Yesterday and Today, some styles “took so long to arrange that their wearers lay in the hairdresser’s lap while she was working on them.” For some Orthodox Jewish women, the salons they frequent to buy sheitels (wigs worn after marriage for religious purposes) are the only places outside the home where they can reveal their natural hair. In these salons, women come to gossip, wish each other a happy Shabbos, and purchase the wigs they wear each day of their married life. The sheitel macher, or stylist, has a responsibility to clients to make their sheitels look as natural as possible. She also must ensure her clients feel comfortable in their new wigs, which isn’t always an easy task. “It’s not just about styling hair, but listening to people and dealing with their emotions,” wig salon owner and stylist Rif ka says in Emma Tarlo’s book Entanglement. Soon-to-be married women will sometimes enter Rif ka’s salon in tears, fearful of being unable to find a stylish, natural-looking wig. “If I charged for a therapy session and threw a free haircut in on the side, I would be rich by now!” Rif ka says. Similarly, many black women recall some of their fondest and sometimes most painful memories taking place in the beauty parlor. Golden wrote of the burns she endured when her mother pressed her hair with a hot comb in the family kitchen and later of the gossip she eagerly listened in on when she started getting her hair straightened at the salon. “The ‘beauty parlor’ and the barbershop remain among the most important institutions in the Black community,” Golden wrote. Hair has always been highly politicized for black women, so it’s no surprise the relationship between the black woman and her stylist is so important. Black women have been fired for wearing their hair in natural Afros, locs, cornrows, weaves — practically any hairstyle a black woman can wear. Just last year, a federal court ruled that employees could be fired for wearing dreadlocks, and it would not be considered racial discrimination.
In 2013, Melphine Evans, a black female executive at BP, was allegedly fired for wearing her hair in cornrows and twists. That same year, seven-year-old Tiana Parker was sent home from school for wearing locs. For many black women, going natural is more than just a hairstyle; it’s a way of pushing back against Eurocentric beauty standards and societal pressure. Beauty rituals can also be methods of survival. A huge part of transgender and gender-nonconforming femme culture is teaching one another to conform to feminine beauty standards as a means of passing. While some trans women choose to disrupt these standards, many feel they must pass in order to minimize harassment. But how can a transgender woman or nonbinary femme learn to navigate the complex world of feminine beauty without a little help? For trans activist and writer Janet Mock, this guidance came in the form of her best friend-turnedmakeup-artist Wendi Miyake. In the first installment of her “Beauty Beyond Binaries” essay series for Allure, Mock wrote of the transformative powers of the makeover Miyake gave her in middle school. “The world may have dismissed my hair texture, multiracial skin tone, and gender expression,” Mock wrote, “but my best friend intervened, showing me that beauty was expansive, empowering, and free from restrictions.” The two women are now in their thirties and have remained best friends since the adolescent bond they formed over beauty. We put tremendous faith into our hairdressers, nail techs, and the friends and sisters who keep us looking our best. “Some women aren’t comfortable enough even with their closest friends to share their truly private thoughts,” says facialist Emma Hardie, “but when you combine the sense of being groomed by another person with the power of touch, you have the makings of a great emotional outlet.”
After years of concerns about the well-being of models, fashion industry leaders are finally taking action. By Hannah Malach
his September, famed fashion conglomerates Kering and LVMH officially cracked down on the sizes of their models. The groups, who own fashion houses such as Gucci, Saint Laurent, and Louis Vuitton, will no longer allow models who are size zero or smaller to appear on their runways or in print advertising. The ban comes after repeated criticism of designers’ nonchalance towards, and often promotion of, scarily skinny models in their advertisements and fashion shows. For years the industry skirted by without any regulations on models: the acceptance of unrealistic body standards only added to the aspirational — yet often unachievable — aesthetic designers have been accustomed to creating. 24
FEATURES SECTION This issue even extends to the treatment of models. Kering-owned Balenciaga came under fire last March, after two of the brand’s casting directors left about 150 models waiting for hours in a dark stairwell. The directors responsible were promptly fired. In a September 6 statement from Kering and LVMH, the luxury giants pledged to “establish a charter for the well-being of models” that will be implemented worldwide and stretch across all brands they own. The code of new rules came into effect just ahead of Paris Fashion Week for the spring/summer 2018 season. The new charter constitutes that models should provide medical documentation proving that they’re in good health. It also states that psychologists or therapists must be provided to models during working hours. Perhaps the most shocking mandate of the charter is that female models must be above a French size 32, typically a size zero in the US. The exact measurements corresponding to a size zero can vary slightly between brands, but at the smallest consists of a 30-inch bust, a 22inch waist, and 32-inch hips. “We hope to inspire the entire industry to follow suit, thus making a real difference in the working conditions of fashion models industry-wide,” said Kering Chairman and CEO François-Henri Pinault in the company’s press release. In 2015, France outlawed ultra-thin models — and with hefty consequences for offenders. The legislation states that if fashion companies employ models without medical documentation, similar to the kind mentioned in the Kering and LVMH charter, they face up to almost $90,000 in fines and possibly up to six months in prison. While there was debate about whether Body Mass Index should be the main factor in proving models’ proper health, the consideration of BMI was ultimately ruled against after backlash from modeling agencies and fashion executives for models under the age of 16. Given these strict French laws, it’s no surprise that Kering and LVMH, both French companies, are taking things a step further. Countries such as Spain, Israel, and Italy have similar laws to France, but all mandate minimum BMIs for all ages. Spain and Italy’s regulations were put in place in 2006, while Israel followed suit in 2012. New York City-based Briy Gilgeous has been modeling for almost a decade. She believes that fashion’s obsessive focus on measurements is what led to the size ban in the first place. “My issue with this rule is that a size zero is a measurement created by the fashion industry itself, and implementing a policy like this excludes the people who are naturally within that size parameter,” Gilgeous says. While there’s no definitive way to calculate how many women are naturally a size zero, dietitian Lisa Thomas says that body measurements can help determine if someone is at a healthy weight. Thomas notes that in Canada, for example, measurement ratios are now being considered more accurate than BMIs. Still, she stresses the importance of looking at multiple factors before making judgements about one’s health: “[Body measurements] aren’t taken all by themselves. They’re usually taken in context with other health measurements like eating habits, sickness, and weight.” Founded in 2009, St. Claire Modeling is a small modeling agency located in New York City. Demanti O’Bryant, St. Claire’s agent, admits he’s still on the fence about the ban: “I think it’s a double-edged sword. I think monitoring the health of the model is more important. If the person is naturally a zero and you’re like ‘you have to eat more’ or
‘you can’t get this job’ I don’t think that’s fair. I think it’s the same as telling someone not to eat as much to be a certain size.” Renowned casting director Gilleon Smith was confused by the ban and considers it antithetical to the industry’s more recent efforts in pushing diversity. Smith, who runs an inclusive casting agency, says the ban seems like an attempt at relevancy rather than a fight for change. “It’s trending right now to be inclusive…some [brands] are doing it for sales and publicity, and some of them are doing it as part of their being and part of how they’ve developed as a company,” Smith says. Smith has casted models for brands such as Chromat, a swimwear company that has garnered attention for repeatedly featuring trans women, curvy models, and women of color on its runways. Smith and O’Bryant don’t think the government should be able to mandate model regulations, but they agree that some groups of people, particularly within the fashion industry, should be responsible for setting the standard. Among their suggestions were the Council of Fashion Designers of America (CFDA) and Model Alliance, a nonprofit that serves as an unofficial labor union for models. But perhaps the greater questions are whether or not the rules will be followed and if they will be enforced. Even after the CFDA put forward its own regulations against employing runway models under the age of
I THINK THE BAN IS A DOUBLE-EDGED SWORD — DEMANTI O’BRYANT, ST. CLAIRE MODELING
16 in January 2012, 14-year-old Ondria Hardin walked for Marc Jacobs that February. The consequences for Marc Jacobs? None. Punishments weren’t stipulated in the CFDA’s rules, and they also haven’t been set in place by Kering and LVMH’s charter. This is why Gilgeous wishes for government involvement. “I would like for the government or an outside government group like OSHA (Occupational Safety and Health Administration) to regulate models, agencies, and the teams involved in the campaigns and runway shows models work in,” she says. “I think having a union representative who is trained in the warning signs of disordered eating or fitness habits could be a great non-biased help.” As of now, there seem to be too many questions and not nearly enough answers in regards to the size ban. LVMH and Kering’s charter comes across as vague, arbitrary, and possibly even discriminatory. But for an industry that clearly struggles with enforcing ethics, perhaps a slow attempt at change is better than no attempt at all. “This may just be a start for things to come, as far as compliance,” says Thomas. “Making a change in a whole industry is going to take time.”
Channel your inner runaway with a touch of cyber punk inspiration. photographed by hannah meader modeled by allie wojnowski and valerie torres makeup by dylan myones
valerie dress: vintage moschino, top: out from under, shoes: nine west, allie top: urban outfitters pants: blackheart, necklace: urban outfitters shoes: superga
allie jacket: highway, top: urban outfitters, pants: ragged priest, necklace: chan luu, shoes: jeffrey campbell
valerie top: vintage moschino, skirt: opening ceremony, necklace: thrifted
allie jacket: forever 21, shirt: century 21, skirt: forever 21, shoes: jeffrey campbell, valerie top: thrifted, pants: moschino, shoes: asos
allie top: thrifted pants: nick coleman, scarf: thrifted, shoes: vans valerie top: urban outfitters, skirt: pam & gela, scarf: urban outfitters
valerie dress: ruby and jenna, top: silence and noise, stockings: urban outfitters, earrings: nasty gal, shoes: dunne allie top: diane von furstenberg pants: thrifted
CHARLOTTE AND SOPHIE BICKLEY’S SIBLING STYLE HAS EARNED THEM A DEVOTED SOCIAL FAN BASE. BY SABRINA GOLDBERGER
ith followers ranging from thousands to millions, Instagram inf luencers are at the forefront of the ever-changing fashion industry. They have the power to create trends and dictate what’s in and out with the click of a few keys and the “share” button. Sisters Sophie and Charlotte Bickley are two of these up-and-coming inf luencers, showcasing their fashion savvy on their shared
account @yin_2my_yang. Charlotte, 23, and Sophie, 25, both currently live in New York City. They launched their page in 2016 and have been building a following ever since. “When we first started our Instagram, we wanted to focus on showing our growing audience a little about each of us as individuals but also as sisters with different styles that people can relate to,” says Sophie. She describes her personal style as eccentric, contemporary, spontaneous, and fun; Charlotte labels hers as
posh, feminine, and current. Their account has taken off because of their sibling twist: “We feel we bring a unique and special aesthetic to our blog by being sisters, but not twins, with slightly different styles, which we think is super relatable to our audience.” The Bickley sisters market themselves to people within the fashion industry but also to the everyday, authentic woman. Charlotte emphasizes the way they strive to maintain a genuine image and consistent content. “For now, we’re focused on being relatable and having fun because we feel we have something to offer,” Sophie chimes in. Charlotte and Sophie draw inspiration from current trends they see on runways and in magazines, but also reference looks from their favorite online sites, like Revolve and ShopBop. Right now, the sisters really love dressing up casual styles. “We’ve been rocking the jumpsuit trend for a while, and we also love the sneaker trend. We both own so many fun pairs of sneakers,” they say. “Recently we’ve also been into sweatpants. We love pairing fashion sweats with a leather jacket or a fun oversized
ZIPPED PHOTO COURTESY OF @ YIN_2MY_YANG
sweater for a casual meeting.” Their go-to statement colors are bold and bright — cherry red and electric yellow, which are sure to draw attention in a crowd. However, there is one trend they just can’t get behind: “We wish the trend of wearing silk pajamas out and about would end. It just looks messy!” Their social media tips are just as valuable as their fashion advice: “Believe it or not, there is a science to finding the right time to post. We’ve learned this through trial and error, and recently the best time for us is 12 p.m. or 6 p.m.” Take that into consideration the next time you hit share. “Our No. 1 tip for social media hopefuls is to be persistent and patient. Building up solid and engaged followers takes time and lots and lots of posts,” says Charlotte. Their main takeaway? Be true to your brand. It’s important not to sell yourself short or change your entire identity for the sake of a few likes. Having an aesthetic isn’t just about the look — it’s conveying a message about yourself that you are sending out to thousands of people.
BY JACKIE HOMAN At 28 years old, Gabrielle Korn is the global editor in chief of NYLON. A New York University graduate, Korn started her career as an intern at the Feminist Press before joining Refinery29 as a beauty editor and working her way up the ranks at NYLON, where she held the positions of senior editor, deputy digital editor, and digital editorial director. Korn spoke to Zipped about getting out of the office, covering issues that matter, and transforming the media industry. ZIPPED: In college, you majored in feminist and queer theory, activism, and the arts. How did you use this knowledge in your journalism career? Gabrielle Korn: My first job out of college was as the editorial assistant for a feminist magazine called On the Issues. That job was really the intersection of what I had studied in school and journalism. I ended up really loving the journalism part of it, but I felt like working in feminist media was like preaching to the choir. We were writing about really important things, but the people reading it were people who already knew what we were talking about. After about a year, I left and started freelance writing. Z: How did you connect your interest in feminism to your next role as a beauty editor at Refinery29? G: The biggest part of my work at Refinery29 was helping them become a hub for intersectional content by using beauty and fashion and lifestyle as a jumping-off point to talk about more serious issues. That strategy was kind of what put them on the map. Z: What was the transition like from Refinery29 to NYLON? G: When I came to NYLON, I ended up doing something very similar, and that was making our content more feminist, more intersectional, and more queer-friendly, using the same pillars the brand has always relied on — beauty, fashion, music, lifestyle, culture. NYLON is a brand that built itself around being super relevant. In the early 2000s when we started, that meant being the first magazine to put Paris Hilton on the cover. In 2017, what people want is to be political and edgy with their feminism. We’ve also become an authority on queer issues because we do it in such an authentic way. We make sure queer issues are woven into the fabric of what we do. Z: In our digital age, how do you keep up with the changing industry? G: In order to succeed in this landscape, you have to be constantly pivoting, and we do that. We’re constantly listening to reader feedback. About a month ago, we folded the print magazine because our readers weren’t there — they’re online. People still want to read things and watch things and
photo by cortney wilson, courtesy of gabrielle
engage with things; it’s just the ways in which they’re doing it are changing. Z: What is your leadership style as an editor in chief? G: I really encourage everyone on the team to be out of the office as much as possible. Ideas don’t happen when you’re chained to your desk; they happen when you’re experiencing the world and doing everything but writing. It’s important to me that everyone takes the press trip, goes to the event, takes a vacation — everything that makes us whole people with actual opinions that can be backed up by experiences. I think a lot of our success has to do with the fact that my team is a ref lection of our audience. When we are passionate about something, chances are the audience will care about it too. Z: What do you wish people knew about your job? G: People think that being an editor in chief is just glamorous, but it’s really hard work. You have to love it. If there’s any part of you that doesn’t feel really passionate about it, this pace is just not sustainable. It becomes your whole life, which is amazing for someone who wants that. Z: What advice do you have for students who want to work in this industry? G: When you’re starting out, the most important thing is that you’re a good writer and you have good ideas. There are so many people who want to self-identify as writers who have no writing skills, so you’ll already stand out if you’re a solid journalist. You can’t be a successful writer if you’re not pitching editors. It’s not just going to happen to you. Present yourself as this constant stream of ideas with the ability to execute them. Z: What do you consider your biggest accomplishment in your career? G: I’m the youngest editor in chief I know. It used to be something I was really nervous about, but now it’s becoming a source of confidence for me. What I lack in years of experience, I make up for with instinct. ZIPPED 37
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FA LL 2017
Syracuse University's premier fashion and beauty publication Fall 2017