Issuu

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EDITOR-IN-CHIEF MAKAYLA HINEMAN

CREATIVE DIRECTOR ISAAC QUILLET 9

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DIRECTOR: MEGHAN SLATER ASSISTANTS: LAUREN FORD + HANNAH BOUCHER + ALEX SCHUSTER + NAT BUZY + STAR JAMES PHOTOGRAPHER: MACY KISSEL MODELS: CIERRA JAMES + GABBY GRODMAN + DANIEL RIVERA

ORANGE DREAMSICLE

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ST U C K ON YO U

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DIRECTOR: TAYLOR CEDNICK ASSISTANTS: JILLIAN BURROWES + LAUREN STEWART + BRENYN SANDERS + GRACYN HOLLOWAY PHOTOGRAPHER: MACY KISSEL MODELS: SHAMS DAOUD + NICOLAS FRANZINI + ELIZABETH DIAZ + NICOLE LANGER + DILLON FOX

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THE BUSHWICK BIRKEN

For most, the Telfar shopping bag has become a symbol of fashionable freedom and accessibility. A carryall bag whose very presence acknowledges those who identify within the LGBTQIA+ and communities of color. This bag is innovation itself and pushes boundaries while navigating the fashion industry and redefines the ideals behind luxury. With a variety of sizes, colors, and a more affordable price range, this bag is popping up in communities across America and symbolizing the changing fashion industry. Telfar collections tell a story of American culture, inclusion, and identity through fashion that is innovative and timeless. We can see this through the brand’s neutral design which mimics the ideology behind the brand itself. Normally “it” bags are geared towards their female consumers rather than a genderfluid design and Telfar has successfully done just that. The designer Telfar Clemens himself has stated that he designed the bag after Bloomingdale's shopping bag and that became the inspiration for this functional carry-all. The

black-owned fashion label even won the Fashion Design of 2020 award from London’s Design Museum for its vegan-leather and gender-neutral design. Telfar was also recognized by the CFDA/Vogue Fashion Fund, and this directly correlated to his rise to success and the infrastructure of his brand. Although flaunted around the fashion community, it is best notably known for its appearance in street apparel and its accessibility to those who don’t have “Hermès money”. Telfar creates a community through its other functional products as well as allowing consumers to access luxury products for a more accessible price range. Telfar simply cannot keep this popular shopping bag in stock and has even added a security program that ensures customers a better chance at snagging one. Many celebrities can be spotted sporting this luxury bag; including Bella Hadid, Azealia Banks, Selena Gomez, and Solange Knowles. To put it simply, it is a flawless functional everyday bag that radiates authenticity, accessibility to luxury, and inclusivity across all communities. Telfar is for e v e r y o n e .

The bag first debuted in the autumn/winter 2014 collection. The sizes range from small to large. These bags are also very affordable with prices ranging from $150 to $260. The bag is faux vegan leather with an embossing of the Telfar emblem itself. Colors range from everyday neutrals to metallic fashion statement bags.

Written By: Natalie DelleDonne 37

GIRLS AND THEIR PEARLS W WRITTEN BY N ATA L I E DELLEDONNE

hhi il lee ddi ai ammoonndds s mmi gi g hh t t b eb e a a g igr il r’sl ’s bbeesst t f fr ri ei enndd t ht hi si ss p g gp ep aeral rsl sh ahvaev e s pr irni n ttaakkeenn t thhee f of or er ef rf or on nt .t .OO n cnec ea as i sging no fo f ggr raannddmmaa’s’s ppr irzi ez ed d p p oo s sses sessisoi no ,n ,t hteh e ppeeaar rl l i si s bbeec coommi ni ng go o nn e eo fo ft ht eh eh ohto- t tteesst t nneeww t rt er enndds sa an n d da al ol voevleyl ya daddid- i tti ioonn t too CCl ul ut ct chh’s’s S Sp p r irni n g g 2 02 2012 1e leel-e m e n t . m e n t . T h e e ff o r t l e s s a d d i t i o n t h a t t h i s T h e e ff o r t l e s s a d d i t i o n t h a t t h i s p i e c e m a k e s t o a n y o u t fi t i s a l l p i e c e m a k e s t o a n y o u t fi t i s a l l thanks to designers who saw the thanks to designers who saw the beauty in the pearl. Adding pearls beauty in the pearl. Adding pearls t o y o u r o u t fi t a l s o a d d s a s o f t e r a a sk oi nf tge r atsop eycot ut ro ao us tt rfiut c taul rseod al ododks, m aspect to a structured look, making

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DIRECTOR: JIMMY WEBER ASSISTANTS: COLE BROOKS + EMILY CABRERA + ANSLEY STEVENS + GABRIELLA DAVIS PHOTOGRAPHERS: JIMMY WEBER, + MACY KISSEL + GRACYN HOLLOWAY MODELS: ANNA DEJONGE + ALI ALY + MORGAN MUDRICK

LA MODA

DI ST R ADA

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HOW THE TA B L E S T U R N THE REVOLUTION OF MENSWEAR WRITTEN BY FAVEANNY LEYVA With the slow but sure dissipation of toxic masculinity, there has been a shift in menswear. Specifically, who is wearing menswear and what is now acceptable as menswear. For clarity’s sake, what is traditionally known as menswear vs what is known as womenswear? In this article when referring to menswear I am talking about trousers, suits, and other styles which are agreed upon to be masculine or reserved for males.

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PHOTO BY JIMMY WEBER

When talking about womenswear or more feminine styles, I am referencing articles of clothing such as dresses and skirts, as well as styles that are associated with femininity like ruffles and sparkles. In recent years, we have seen an increase in big-name artists challenging gender roles through fashion with male artists being styled in more feminine looks and female artists in more masculine ones. The controversy this has caused has definitely shown that there is still a long road ahead, but progress is being made regardless.

With artists such as Harry Styles and Bad Bunny challenging gender roles through the incorporation of accessories that are considered more feminine, we can see some leniency in what is ‘acceptable’ for a man to wear. Male artists doing this allows for feminine styles to be looked at through the same lens that men are. This means that in the eyes of the patriarchy, looks traditionally associated with women are now validated by these men, even if their intention is challenging gender roles. Similarly, when women wear fashion that is notoriously more masculine it is allowed to be looked at as beautiful and sexy while also providing the power of our long-standing patriarchy. Ultimately, these are steps necessary in order to get to a point where everyone can wear whatever they feel strong and confident in. You do not have to be an A-list celebrity to challenge gender roles. At the end of the day, everyone looks hot in a suit.

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STUDIO 715 7 1 5 R A I L R O A D AV E (850) 363 4908

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DIRECTORS: CAITLYN BURDASH + ISAAC QUILLET + MAKAYLA HINEMAN PHOTOGRAPHERS: MACY KISSEL + GRACYN HOLLOWAY MODELS: TAYLOR WEST + MAKAYLA HINEMAN

On Taylor: Aster Top $40 + Aster Bottoms $40 On Makayla: Daisy Top $40 + Rose Bottoms $40

Two-Piece Set: Custom $100 - $150

Dress: Custom $100 - $150

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Burdash Bikinis exhibits innovative and fashion forward designs with handmade execution by founder, Caitlyn Burdash. Hand-crafted from start to finish, sketches lead to patterns, then each final product is sewn meticulously with love and care. Caitlyn’s creativity and passion for design speak effortlessly through her original collections. “Burdash Bikinis has become a manifested reality and I can truly say I am living my dream. Growing up on the sunny beaches of South Florida, an endless collection of bikinis is a must. The love I have for the beach and fashion is what sparked my dream to create the perfect bikini. There is a brightness in all the women who wear Burdash Bikinis which keeps my love for this business strong. I am continuing to expand my designs and am excited to finally showcase my dress designs on top of bikinis! I know you will love your Burdash Bikini and I can’t wait to see how confident and beautiful you’ll feel.” Lots of love, Caitlyn Burdash Founder

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TIKTOK, DEPOP, AND THE FUTURE The climate of the fashion industry is ever-changing, dizzying, turbulent, and mystifying. Within the same breath, a trend can come and go, as can the reputation of an entire brand. The preexisting buoyant nature of the fashion industry is exponentially stretched since the dawn of social media, as direct access to all things fashion now lies between anyone’s fingertips. Consumers collectively have become more educated and passionate in regards to the demons of the fashion industry- whether it be the lack of representation, reinforcing negative body standards, or viciously dangerous sustainability practices. The industry exists in this state of neutrality, where brick and mortar retail is fading away to create an expanding space for online retailing. Depop, as an online selling platform, and Tiktok, as a social media platform, are prime examples of how platforms dominated by everyday people have the power to influence the present and the future of fashion.

Tiktok, the leading short-form media platform, has had a significant impact on the ever-changing fashion stratosphere, especially during the pandemic. Because most people had a lot more time on their hands, Tiktok became a safe haven and an escape for creators and content consumers alike. What is unique about Tiktok is virality seems a lot more accessible than it has been with Instagram or Youtube. This virality has extended itself into the fashion space, as well. Wisdom Kaye, TikTok’s “best dressed guy,” has accumulated 4 million followers, and has received a modeling contract with IMG and had opportunities to work with Balmain and Dior (Allaire) just in the past year. In fact, Jeni Rose, senior vice president of IMG, has expressed how TikTok is the place to “discover the next generation of IMG stars” (Allaire). Simultaneously, celebrities like Kylie Jenner and Bella Hadid have joined the platform. TikTok is differentiated from other social media platforms because someone may come across Kaye, Jenner, or Hadid on their ForYou page, without following them. Essentially, all large creators share a relatively level playing field in the fashion sphere. This level playing field also allows space for unfiltered, raw, content- a staunch contrast from the hyper-edited photo-

shopped pictures on Instagram. Instead of seeing a highly edited picture from a Prada runway, one can witness the Prada runway happening live, while scrolling through TikTok. Instead of seeing a bikini picture of Kylie Jenner with a highly edited waistline and unrealistically smooth skin, one can see a TikTok of Kylie dancing in the same bikini. TikTok has brought humanity and realism to engaging with the fashion industry.

Though the beauty of TikTok is its ability to give normal people a chance at virality, this tends to be a double edged sword. The TikTok elites (most of whom are teenagers who live in houses together) disproportionately absorb media attention around the app, which gives these massive creators power to draw attention to fashion brands, or even to create ones of their own. Addison Rae, TikTok’s highest earner, went from recreating TikTok dances in her bedroom to having a networth of over five million dollars, in just a year and a half’s time. Since her fame, she has launched her own loungewear brand, modeled for Kim Kardashian's loungewear line, SKIMS, and landed brand deals with American Eagle and Reebok. This gives Rae, at 20, power to influence the fashion industry just by existing. Just like the Kardshians or any other A-list celebrities, Addison is routinely photographed by paparazzi and subsequently has her outfits dissected online by drama outlets. But this fame comes at a price, Rae in her GLAMOUR UK cover interview describes how having her body criticized constantly is triggering and takes a toll on her, saying “If you can’t mentally, emotionally or physically love who you are it becomes really difficult to even be happy.” Along similar lines, TikTok’s most followed creator, 16 year old Charli D’Amelio, says she’s “lost her passion” for the app, much of which had to do with millions of people criticizing her body every day (Dogson). Though these girls had no control over their rise to fame, being put on the same pedestal as A-list celebrities seems to be detrimental. Their fame is devalued by many, and any accolade or misstep is scrutinized by both mainstream media and the public. Rae and D’Amelio are a few of the creators at the top of the TikTok pyramid, along with their peers who can gain fame for undeserving

reasons, or pure association with other creators. The TikTok algorithm seems to mimic American class struggle. In the context of the fashion industry, creators like D’amelio and Rae will continue to get high profile brand deals, and get to be fashion icons for just existing, whilst small designers and creators can be clawing for a few thousand likes. The “TikTok dream” reflects the “American dream.” TikTok can be seen as this virtual land of endless opportunity- where everyone has equal chance of achieving their dreams, and although some people do achieve their dreams through TikTok, the app only seems to frequently reward those at the top, leaving many hard-working, talented people frustrated and resentful. Depop is a virtual shopping platform in which consumers can post their own clothes and sell them online. Depop shops range from people selling their old clothes, specialty thrifted vintage clothing, elaborate hand-sewn and crafted pieces, to jewelry and accessories of all kinds. Depop, like TikTok, has given the power back to the consumer to influence fashion trends. For example, the “y2k” look can be largely attributed to the vast array of Depop shops that have thrifted these pieces and collectively have brought that style back decades later. Although Depop is innovative because it’s easy, efficient, sustainable, and gives individuals the freedom to share their fashion with the world, the platform does not exist without significant vices, mainly gentrification. The platform has been polluted with sellers who frequent Goodwills and consignment stores, and markup the merchandise to a disgusting degree. The lack of regulation within the app allows people to exploit their pricing strategies. This causes three primary issues: 1) The platform's initial appeal of finding cheap second-hand clothing (especially for those who come from low income backgrounds) has dissipated. 2) Small businesses run by talented artists who fashion one-of-a-kind items often become completely lost and overwhelmed in the sea of gentrified clothing. 3) Thrift store prices have inflated because of increasing demand, and gently used clothing is less accessible for low income households who have relied on thrift s t o r e s .

Though these are significant issues, Depop recently announced their new sustainability vision in January 2021, in hopes of creating a more nuanced and supportive platform. Maria Raga, chief executive of Depop, declares that she believes fashion should be “actively kind, respectful, and responsible” (Wightman-Stone). They have introduced a two-year sustainable fashion plan that is not solely defined by meeting environmental metrics, but that also contains a focus on empowering Depop sellers by providing educational resources and mentorship opportunities to help entrepreneurs and creatives alike from marginalized and underrepresented groups to grow sustainable b u s i n e s s e s . So what does the future of fashion look like? Currently, the fashion industry exists at a midpoint on a scale of “sustainable vs fast fashion” and “corporate vs individual.” Traditional brick and mortar retail are on a decline, proven by retail powerhouses like Neiman Marcus, Forever 21, and countless others filing for bankruptcy in the past year. Power is slowly returning to the individual and the planet, and platforms like Depop and Tiktok make learning about both fashion and sustainability more accessible and less overwhelming. But there are still hurdles and complications that prevent the fashion industry to move towards a more sustainable future at a faster rate. The main roadblock seems to be class struggle. In Depop, it is the seller’s responsibility to oppose gentrification and support ethical business practices. It is the app’s responsibility to instill stricter rules when it comes to sellers creating shops solely to sell $5 thrifted clothes for $40+. For TikTok, creators like Charli D’Amelio and Addison Rae have the opportunity to uplift smaller businesses and support sustainable brands, instead of opting to cash out on name brand sponsorships; and it is the app’s duty reward smaller creators and offer more opportunity for talented people to get the recognition they deserve.

WRITTEN BY STARLENA JAMES 74

DIRECTOR: BRENNA MCWHA ASSISTANTS: JOSEPH FARRUGIA + BROOKE JOHNSON + AMY BILS PHOTOGRAPHER: MOHAMMAD FARUQUE MODELS: RYLEIGH TAYLOR + SARAH PERLMAN + GABBY GRODMAN

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S H A K E N O R S T I RRE D O R H OW E V E R

GR E Y G O O S E . C O M

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LUST& VA N I T Y A

LOOK

INTO

VERSACE

WRITTEN BY KELLY OSTRUSZKA

The magnetism of luxur y is illuminated in Versace’s brand identity. With Medusa’s bewitching eyes at the forefront of ever y interac tion with the Versace brand, it ’s no secret that the company ’s recognition worldwide is due to its alluring take on vivid and inventive opulence. Raised in Calabria, I taly, Gianni Versace made the move to Milan in 1972, where he was an instant success work ing for I talian labels Genny, Callaghan, and Complice as a freelance designer. Being instantaneously recognized for his talent, ideas of creating his own brand were already in the works, and in 1978 Gianni presented his ver y first collec tion under his own name at his own boutique in Milan’s Via Della Spiga. Even from the beginning, Versace stood out from the majority for many reasons, one of them being that Gianni was in full control of ever ything about the company alongside his family - including his sister, Donatella, and his brother, Santo. Versace’s trademark is its wide range of glamorous styles and its innovative use of new materials. Most famously, an aluminum mesh Gianni designed circa 1982, Oroton , a special chainmail fabric described as wearable “liquid silver ” that placed him on the front-lines of the fashion industr y for his creativity. This material launched in his collection at the Paris Opera and won him the “Occhio d’Oro” ( The Golden Eye) award for Best Womenswear Designer. 93 87 89

The luxury of the Italian Fa s h i o n I n d u s t r y i s c u r a t e d from centuries of inspiration and culture. Milan is the known fashion capital of I t a l y, a n d i f n o t t h e wo r l d. M a n y p e o p l e f o r g e t t h e fi r s t fashion capital of Italy ; Flore n c e . A s t h e c a p i t a l o f Tu s c a ny, Fl o re n ce p r i ce s re s i d e s itself in contributing many designers to the fashion world, as well as continuing t o b e a f a s h i o n i n fl u e n c e t o d a y . The Pitti Palace is a signature landmark in the history of Italian fashion. Placed in Fl o re n ce, I t a l y, i t h o l d s t h e fi r s t f o r m a l f a s h i o n s h o w a n d dates back to 1951. Reigning in the most renowned designers of our time, it made a name for itself. The infamous room aligned with chandeliers and mirrors exe m p l i fi e s t h e a r c h i t e c t u r e and details of the palace itself. The room, which is s h ow n to to u r i s t s to d ay, i s identical to the pictures taken in the 1950s. Originally built to serve as a home for the Pitti family in 1457, it holds a rich Florentine histo91

ry of dresses and art that p e o p l e g o to s e e to d ay. I t has been called home by many families like the Medic i ’s . T h e p a l a c e w a s a l s o u t i lized by Napoleon himself. N ow, t h e Pa l a z zo Pi t t i s e r ve s as the largest museum in Florence that people from all over the world wait hours to go and see. One of the most breathtaking views is the back yard of the Palazzo Pitti; which also belongs to the famous Boboli Gardens. Most widely known as the venue for Kim Kardashian a n d K a n y e W e s t ’s w e d d i n g i n May of 2014, the elegance of the Boboli gardens and the formality it holds attracts many celebrities. Having a museum component inside of the palace; being solely dedicated to costumes and fashion allows the history of Italian merchants to thrive and carry remembrance. Many might know the designer brands such as Gucci, Ferragamo, and Pucci. What people may not know is that their star t came from Florence. After Florence established itself for its impres-

sive work for leather and craftsmanship, many designers made their start there and continue to contribute good-quality products into the fashion world. Many museums are left there to mirror the work of the designers. There is a Salvatore Ferragamo museum residing in Florence, which allows people to see the work of Ferragamo while also currently promoting sustaina b i l i t y. H e e l s m a d e f ro m fi s h i n g r e e l s t o d r e s s e s m a d e of recycled papaya, there is much to mark the historic works of Ferragamo while also working towards the f u t u re o f s u s t a i n a b i l i t y. Th e Gucci Gardens are also placed in Florence. People can see famous Gucci suits a n d o u t fi t s o n d i s p l a y w h i l e simultaneously seeing the nature and inspiration of Guccio Gucci himself. The Gucci Gardens also holds a restaurant for an extraordinarily lavish experience. Along with the many museums and designers, Florence is known to hold the Pitti Fi l a t i . T h i s f a i r, h e l d t w i c e a y e a r, e x h i b i t s t h e n e w a n d

upcoming trends with buyers and attendees visiting from all over the world to test certain fabrics and i d e a s . I t i s a Tr e n d Fo r e c a s t ers, as they held one in the Spring of 2020 to display the trends for 2021. This leads to colors as well as fabrics and world movements. Sustainability and climate change were predicted to be a large component of the fashion industry and what companies represent. Nationality is also something that has been predicted; w i t h t h e r e s u r g e n c e o f fl a g s and national colors as a way to promote cultural awareness. Florence prides itself in hosting the Pitti Filati and utilizes it as a way to spark new ideas for the fashion ind u s t r y . Florence holds a historical s i g n i fi c a n c e for fashion. Milan only dreams of having t h e h i s t o r y t h a t t h e Tu s c a ny Capital holds and continues to make in the world.

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A SECRET AFFAIR

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DIRECTOR: JENNA EVANS ASSISTANTS: ANNA MCGEE + TIA KEARNEY PHOTOGRAPHER: LAUREN RIVERO MODELS: SHANNON OREO + CLAIRE LALLY + VIVIAN AUBEL

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Designed and fabricated by: Lily Dougherty

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THE COURSE OF COUTURE W R I T T E N BY J E N N A E VA N S

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lothing has has transformed transformed from from aa bare bare necessity necessity and and practicality, practicality, into into aa form form of of lothing expression better better referred referred to to as as the the fashion fashion industry. industry. The The art art of of fashion fashion design design expression initially took took off off in in the the early early 1800s 1800s when when Charles CharlesWorth Worth opened opened the the first first ever ever fashfashinitially ion house, house, The The House House of of Worth Worth in in Paris, Paris, France. France. Specializing Specializing in in high-quality high-quality gargarion ments, the the opening opening of of the the fashion fashion house house set set the the stage stage for for the the concept concept of of haute haute ments, couture; haute haute couture couture being being high-fashion, high-fashion, high-quality, high-quality, custom-fit custom-fit clothing. clothing. Prior Prior couture; to this this era era of of fashion fashion design, design, there there was was little little dimension dimension within within the the industry. industry. EveryEveryto day outfits outfits would would typically typically consist consist of of miscellaneous miscellaneous articles articles of of clothing clothing that that were were day largely based based on on one’s one’s social social status. status. However, However, as as French French fashion fashion progressed, progressed, the the largely desire to to have have custom-designed, custom-designed, ready-to-wear, ready-to-wear, clothing clothing quickly quickly spread spread as as more more desire “houses'' came into existence. “houses'' came into existence. Throughout the the rest rest of of the the 1800s 1800s and and early early 1900s, 1900s, fashion fashion houses houses continued continued to to Throughout frequentlyrelease releasenew newcollections collectionsof ofhigh-fashion high-fashionclothing. clothing.To Tofurther furtherpromote promotethe the frequently collections, the the designers designers began began to to hire hire women women to to wear wear their their items items at at aa variety variety of of collections, different public public events events within within Paris, Paris, initially initially referred referred to to as as fashion fashion parades. parades. As As the the different industrygrew grewgreater, greater,ititwas wasno nosecret secretthat thathaute hautecouture coutureheld heldsignificant significantinfluence influence industry onthe thetrends trendsfor forthat thatgiven givenseason. season.People Peoplefrom fromall allover overthe theworld worldbegan beganto tofollow follow on the parades parades around around Paris Paris in in search search of of the the latest latest designs. designs. Taking Taking yet yet another another turn, turn, the travel to to Paris Paris closed closed once once World World War War IIII commenced. commenced. With With industry industry workers workers no no travel longer able able to to witness witness the the parades, parades, Americans Americans wanted wanted an an alternative alternative to to French French longer

fashion for for the the time time being. being. Eleanor Eleanor Lambert Lambert fashion recognized that. that. To To provide provide the the American American recognized fashion industry industry with with another another option, option, she she fashion created the the first-ever first-ever fashion fashion week week in in 1943 1943 in in created New York York City. City. Initially Initially called called “press “press week, week,”” New Lambert used used the the event event to to showcase showcase the the prepreLambert viously neglected neglected American American designers. designers. After After viously seeingthe theincrease increaseof ofpress pressthat thatthe theAmerican American seeing haute couture couture gained gained from from the the event, event, Paris Paris haute and other other cities cities promptly promptly followed followed in in NYC’s NYC’s and footsteps and and began began hosting hosting similarly similarly styled styled footsteps runway shows. runway shows.

was taking taking place. place. Comparable Comparable to to the the result result of of was WorldWar War II, II, international international travel travel stopped stopped and and World the world world as as we we knew knew itit began began to to shut shut down. down. the Noone onehad hadany anyidea ideathat thatParis Paris2020 2020was wasgoing going No to be be the the last last“normal” “normal” fashion fashion week week to to date. date. to Prior to to the the pandemic, pandemic, show show attendance attendance was was Prior primarily invite invite only. only. Although Although in in recent recent years years primarily the collections collections would would be be shared shared through through the different media media platforms, platforms, the the shows shows in in their their different entirety were were limited limited to to the the in-person in-person audiaudientirety ence. Since Since the the commencement commencement of of the the panpanence. demic,the thesocial socialscene scenehad hadquickly quicklyshut shutdown down demic, and people people were were immediately immediately expected expected to to and As the the fashion fashion industry industry expanded expanded to to the the rest rest stay As stay in in their their homes homes in in hopes hopes to to prevent prevent the the of the the world, world, four four major major fashion fashion capitals capitals spread of spread of the coronavirus. of the coronavirus. emerged: Paris, Paris, New NewYork, York, London, London, and and Milan. Milan. emerged: Notoriously known known as as the the “Big “Big Four, Four,”” each each of of Considering Notoriously Considering how how far far technology technology has has come come in in the cities cities hosts hosts its its own own week-long week-long event event that that the the the modern modern age, age, aa majority majority of of formerly formerly influencesthe thefuture futuredirection directionof ofthe theindustry. industry. face-to-face influences face-to-face events events were were instantaneously instantaneously With the the notable notable week week only only occurring occurring twice twice aa moved With moved online. online. AA pivotal pivotal moment moment for for history, history, yearto toinitiate initiatethe thestart startof ofthe thenext nextseason, season,the the the year the coronavirus coronavirus greatly greatly encouraged encouraged the the transtranshigh-fashion runway runway shows shows exclusively exclusively prioripriori- formation high-fashion formation of of the the fashion fashion industry. industry. Although Although itit tizethe theindustry's industry'smost mostelite elitefashion fashionhouses. houses.In In has tize has been been over over aa year year since since the the initial initial providing the the designers designers the the opportunity opportunity to to announcement providing announcement of of the the lockdown, lockdown, things things are are introduce their their newest newest collections collections during during the the now introduce now beginning beginning to to open open up up even even though though the the event, the the work work created created plays plays aa substantial substantial world event, world isis still still not not how how itit used used to to be. be. Paving Paving the the role in in the the trends trends for for the the current current and and upcomupcom- way role wayto tomodern modernfashion, fashion,many manyof ofthe thepreviouspreviousing seasons. ly ing seasons. ly exclusive exclusive events events are are now now becoming becoming more more Resulting from from the the significance significance of of the the occaocca- available Resulting available to to the the public. public. Following Following the the start start of of sion, fashion fashion week week has has gradually gradually gained gained an an the sion, the pandemic, pandemic, aa majority majority of of events events within within the the immense following following over over the the past past century. century. industry immense industrywere wereadjusted adjustedto totake takeplace placein inaavirtuvirtuGrowing to to approximately approximately 300 300 fashion fashion shows shows al Growing al environment. environment. Fashion Fashion week week included, included, most most per event, event, the the shows shows have have become become an an experiexperi- of per of the the haute haute couture couture fashion fashion houses houses have have not not ence for for more more than than just just the the designers, designers, but but for for been ence been able able to to hold hold their their events, events, but but have have now now the select select audience audience as as well. well. Fashion Fashion week week has has given the given access access to to the the widespread widespread community. community. progressed into into aa sophisticated sophisticated event event that that Unlike progressed Unlike ever ever before, before, those those who who are are not not able able to to industry workers workers from from around around the the world world attend industry attend the the events events are are now now able able to to livestream livestream aspire to be part of. the aspire to be aa part of. the shows shows from from all all over over the the world. world. AdditionalAdditionally, individuals individuals are are utilizing utilizing social social media media platplatly, In past past years, years, individuals individuals from from all all over over the the forms In forms to to share share what what they they would would wear wear to to each each world would would travel travel to to the the“Big “Big Four” Four” eager eager to to designer's world designer's show. show. Having Having come come aa long long way way witnessthe theiconic iconicevent. event.However, However,things thingstook took from witness from its its introduction introduction in in the the 1800s, 1800s, the the art art of of turn when when the the Covid-19 Covid-19 pandemic pandemic struck struck in in fashion aa turn fashion design design has has become become aa remarkable remarkable Marchof of2020. 2020.At Atthat thattime, time,Paris Parisfashion fashionweek week empire March empire that that many many crave crave to to be be aa part part of. of.112 110

IRIS VAN HERPEN PHOTO BY: GIO STAIANO SPRING 21 COUTURE MODEL: NIKKI VONSEE

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WRITTEN BY ISABELLA PFEIFFER As a fashion designer, Herpen has established herself at the vanguard of design as she integrates apparel and physics. With her beginnings in the small town of Wamel, Van Herpen’s early education in ballet and art piqued her interest in dress-making. She wanted to wear something that could capture the fluid movement she felt within dance. She began her design education at the Artez Institute of the Arts Arnhem where she had the remarkable opportunity to intern under Alexander Mcqueen, a prolific artist and one of her greatest influences. Her vision was to use architectural practices to give her clothing a semblance of nature. She wanted her pieces to be delicate, yet simultaneously intricately structured. This was inspired by the complexity of hard-earned balance and symbiosis within e c o s y s t e m s . Opening her own label in 2007, Van Herpen used modern technology such as 3D printing and laser-cutting to begin constructing kinetic sculptures as apparel. The use of these materials had scarcely ever been implemented in high fashion. Many critiqued her ideas as too artificial and mechanical. In her first collection, models strode with the wire frames of 700 umbrellas, all having been reassembled and laser-cut into Van Herpen’s design. Taking Parisian Haute Culture as her primary influence for further collections, Van Herpen began creating ornate dresses that seemed to move outside and within themselves. The flow of her dresses is almost hypnotic. It’s hard to believe that her dresses move simply with gravity and inertia, without any mechanical assistance. Her experience with classical ballet informed her of how movement and transformation have the potential to deceive the eye.

As her career skyrocketed, museums began appealing to have her designs in their exhibits, among those names were the New York Metropolitan Museum of Art, the Royal Museum in Toronto, and the Groninger Museum. Fellow designers were hungry for collaborations, and Van Herpen had no problem developing new ideas into the scope of her apparel. The Dutch artist began partnering with not only critically acclaimed designers across the world, but with figures who stand for female empowerment. Van Herpen’s designs have reached the wardrobes of celebrities such as Lady Gaga, Cate Blanchett, Beyoncé, Scarlett Johansson, and Naomi Campbell. I mention these names because it’s widely regarded that the ability to dress celebrities and the icons of our society is indicative of a successful designer. These people play a large representational role in our generation, and it’s significant to dress them. This united effort to revolutionize fashion has earned Van Herpen the title of both artist and scientist as she creates apparel using modern technology and our knowledge of mechanical physics. Personally, I first discovered her work when I was watching a morning talk show, and I thought it was just fantastic. I’ve always had an intense interest in science and art, so it was refreshing to see these staunchly divided subjects exist within the same space. She’s an inspiration in the fashion world because everything she creates is so different from the things we’ve seen before, giving the industry stimulation to think outside the box and integrate other subjects within the scheme of design. Iris Van Herpen combines nature and personal experience into every piece she creates, and I’m excited to see where her ideas will take her.

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DIRECTORS: MAKAYLA HINEMAN + ISAAC QUILLET ASSISTANTS: ARYANNA CLARK + ABIGAIL SIKES PHOTOGRAPHER: MACY KISSEL MODELS: GRACYN HOLLOWAY + LANCE MORGAN

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