Issuu

the dynamic issue

issue no. 41

â€¢ DECEMBER 2019

06 FACES + SPACES: MUSIC FESTIVALS

Two Northwestern student’s style at festivals is dynamic as the music itself

12 FRESH FACES

Water is a means for us to wash away the day and start with a clean slate. In this shoot, STITCH explores how water allows us to be dynamic in our personal expression using makeup and beauty products

20 SHE GOT IT FROM HER MAMA

Parents can heavily influence style and inspire their children’s fashion choices

43 LAST WORD: MY WINGS CHANGE COLOR One writer’s metamorphosis into self-acceptance

STUCK IN RIGIDITY

How the modeling industry is and isn’t changing

22 UNIFORM

Clothing is just a shell that can take different dynamic forms on a variety of bodies. In this shoot, STITCH explores how similar jumpsuits can look different and be dynamic on three

• DECEMBER 2019

MASTHEAD QUESTION:

What makes you feel dynamic? EDITORS-IN-CHIEF Samuel Maude + Nina Wescott MANAGING EDITOR Eden Lichterman CREATIVE DIRECTOR Lizzie Zhang SENIOR EDITOR Lexi Schiff

first bite king the ied ta n e h W thing fr of some

DIGITAL CREATIVE DIRECTOR Zoe Grossinger PRINT EDITOR Chloe Law

PHOTOGRAPHY EDITOR Nia Adurgbola

PHOTOGRAPHY EDITOR Sarah Loper

PHOTOGRAPHY EDITOR Caroline Ward

PHOTOSHOOT DIRECTOR Wh e Emily Burns abo n I’m a

DESIGN EDITOR Angela Cheng ONLINE EDITOR Lilly Pace CORPORATE DIRECTOR Emily Wang

MULTIMEDIA EDITOR Jay Towns ONLINE EDITOR Radhika Rahlan

bl u hair, t my life e to cha , wh a ne et nge so w wou set of p her it’s d methin ldn’t g e y norm ns, or a eing my n ou ally tfit I wea r

SOCIAL MEDIA EDITOR Natalie Vazquez

an w DEVELOPMENT DIRECTOR MEMBERSHIP DIRECTOR ic in the ne ush m a Daniella Ueki Wenbo Zhang ; p n n y o et er atio el d I fe ar situ orce m discov ili es f and elf am c unf stan aries f mys CORPORATE TEAM m d o u n circ y bou sides Olivia Corderi, Michelle Gozdanker, Eden Hirschfield, Olivia Lee, Susan Tran + Tiffany Xu w m ne

EDITORIAL TEAM Ashley Capoot, Jude Cramer, Olivia Evans, Lizabeth Frohwein, Giovana Gelhoren, Eli Gordon, Haley Grindle, Nia Harris, Isabell Liu, Sarah Rosenblum, Joely Simon, Christian Thorsberg, Sierra Turner, Florence O’Connor + Rachael Vargas DESIGN TEAM Izzy Chun, Grace Lougheed, Jessie Paridis, Rachel Price, Margeaux Rocco, Quynh-Nhi Tran + Stephanie Zhu MULTIMEDIA TEAM Pranavi Ahuja, Salma Barhoumeh, Maddy Daum, Bridget Gonzalez, Sylvia Goodman, Zoe Juanitas, Michelle Kim, Agnes Lee, Victoria Lee, Libby Markham, Linda Shi, Kumail Sydain, Maria Valencia + Emily Yan PHOTOGRAPHY TEAM

Maria Arias, Grace Deng, Sara Gronich, Nami Hoffman, Maryam Ikuforiji, Skye Li, Lucia Shorr + Anna Weeks Ga kno ining n w in ledg ew SOCIAL MEDIA TEAM bec terest e and s o Ashley Chin, Sarah Filby, McKenna Frey, Rachel Kwak, Kimberly Cruz Mendez + Emi Silverstein to d me ca : as I o p mo more able re, a , se STYLING TEAM e mo nd be re Miranda Andrade, Sebin Bok, Erica Cantor, Renee Grotthus, Maxwell Han, Sharon Kleiman, e nich Sean Malaisrie, Katharina Nachtigall, Emily Norfolk, Joyce Park, Nicolas Petry-Mitchel, t my others u o ab vites Sanchita Sen, Shloka Shetty, Annika de Vogel, Ava White + Erin Zhang talk ve n et to uirks. It i and I lo get g I e n s l q r e i p h W sts and out the s peo g e b n r i a e h t t e in t ll m ittle to te g what l ted abou i n c i ex know • DECEMBER 2019

GRACE LOUGHEED CLEVELAND, OH SECOND YEAR DESIGN TEAM "To me, dynamic means being able to accept and embrace the different forms we take and space we occupy as people."

RACHEL KWAK NASHVILLE, TN THIRD YEAR SOCIAL MEDIA TEAM "Dynamic means embracing the beauty of the unexpected!"

ASHELY CAPOOT DENVER, CO SECOND YEAR EDITORIAL TEAM "For me, the word dynamic really celebrates change. I think it is so important to try and keep your mind open to new things when going through life, and in order to do so you have to be dynamic."

SUSAN TRAN GURNEE, IL FOURTH YEAR CORPORATE TEAM "To me, dynamic means the fluidity of identity and the power that comes with that. We are always growing and changing, and those changing parts ultimately come together to create a one-of-a-kind self, which I think is pretty cool!"

THOUGHTS F R O M

T H E

E D I TO R S

When I came into Northwestern, I was convinced that I was going to sing opera for the rest of my life. In high school, I was co-choir president, a soloist in the Iowa All State Choir and an opera singer for a summer in Italy. My life before Northwestern was all music all the time. But then, during my freshman year, all of that changed. I realized that I hated practicing, did not like choir and got so nervous performing that I had a gagging problem. So, I dropped my voice major, kept my journalism degree, and added a religious studies major. Everything changed. For many students, just like it was for me, Northwestern is dynamic. It’s filled with changes and failures, and through these, we grow. Most seniors probably look back on their first-year selves and realize the metamorphosis that happened throughout their Northwestern years. There’s grace and elegance, and there’s also a sense of community in those changes. There are social dynamics, dynamic shifts and a sense of music to all of it. Dynamic is the perfect word to describe the college journey. In the Dynamic Issue, we worked to look at the different aspects of this word. On page 8, staff writers Nia Harris and Giovana Gelhoren interviewed four different Northwestern students about how their style shifted as they got to Northwestern. Staff writer Rachael Vargas looks at the social dynamics at play in the modeling industry on page 38, and on page 22, three Northwestern students are dressed in similar jumpsuits, and through these pictures, we show that different articles of clothing can be dynamic and fit different body types and how unifying that can be. And finally, on page 43 multimedia team member Pranavi Ahuja discusses the transformation and how the dynamics in her life change when she got to Northwestern. Many Northwestern students, both young and old, contributed to this issue. Through conversations about the word dynamic in our rooms, we believe that the word dynamic encapsulates the Northwestern journey. We hope, in some way, shape or form, that you see yourself through this issue, and we hope to highlight the dynamics at play.

Samuel Maude & Nina Wescott • DECEMBER 2019

faces and spaces: musical festival BY ASHLEY CAPOOT PHOTO BY STEPHANIE BLOCK

â€¢ DECEMBER 2019

When the snow finally melts from the trees and spring starts to creep onto Northwestern’s campus, students begin to talk about all things Dillo Day. This year, Dillo Day, produced by Mayfest Productions, will take place on May 30. It is the largest student-run music festival in the country and draws more than 10,000 attendees each year. Students always speculate about the artists who might appear on the lineup, but it’s just as common to hear them discuss what they are going to wear. Many students begin the task of planning their Dillo fit weeks or even months before the annual event. This is emblematic of a larger trend in the U.S. where concert and festival goers invest a large amount of time and money into their outfits. As such, these events become distinctive sites where music and fashion are completely interlinked. Bienen senior Noelle Torres attends concerts and festivals across the country, and Torres said they act as unique hubs for self expression through fashion. She said she’s noticed different genres of music cater to different styles and that even the artists experiment with their looks. “I definitely think fashion and music are really super intertwined,” Torres said. “Whether it’s like artist merch or music videos, they have a direct influence on each other.” For instance, Torres said that when she saw the artist Flume perform at Lollapalooza, he wore an astronaut suit that corresponded with the music and visuals he had playing behind him. She said his outfit made the show more of an experience and exemplified how music can be conducive to self expression through fashion. When Torres knows she will be attending a show she creates mood boards and Pinterest boards to help curate her looks. She said her favorite outfit she’s put together recently was a yellow jumpsuit that she wore to Lollapalooza. “I definitely spend a lot of time on it. I went to Ultra this past year, and my friends and I actually made like powerpoints to share with each other,” Torres said. “For big festivals like Ultra, or like, I went to BUKU in New Orleans, that takes, I’d say several months in advance, also because I’m just excited for the trip itself. For like a concert that’s coming up or just one that’s here in Chicago, it’s normally just like the week of, more short term.”

Social media has made people want to try harder to look good or express themselves through fashion...

Weinberg sophomore Gavin Parisi also begins to put together his outfits together about a month before he attends a festival or concert that he is excited about. He said that since music is a source of inspiration for a lot of people it can encourage them to channel this inspiration through what they wear. Additionally, he said that social media has also been a strong driving force behind concert wear culture. “If you just look at the people who post pictures from Coachella, or really any music festival, it’s a huge outlet for fashion now,” Parisi said. “Social media has made people want to try harder to look good or express themselves through fashion because of the image that’s perpetuated.” In fact, some clothing brands have even begun to sponsor celebrities that attend music festivals. For instance, model Kendall Jenner, model Emily Ratajkowski, and actress Shay Mitchell have posted several photos from Coachella that were sponsored by the clothing brand Revolve. Other brands like Calvin Klein, SHEIN, Sephora, Dote, and NYX Cosmetics also utilized Instagram influencers to their advantage and sponsored dozens of posts. The fact that brands are actively trying to curate their presence at concerts and festivals is indicative of just how interconnected music and fashion truly are. In essence, these venues are conducive to self expression through fashion because they foster environments where attendees are inspired and driven to look their best. Though different genres cater to different styles and some outfits vrequire more planning than others, it is clear that concerts and festivals are spaces where music and fashion are uniquely symbiotic.

• DECEMBER 2019

the

DYNAMIC student style

How four students' styles have changed over their time at Northwestern By Giovana Gelhoren & Nia Harris Photographed by Caroline Ward

â€˘ DECEMBER 2019

“I don’t really care that much about what other people wear,” Lauren McCaffrey said, “But some of the stuff I wear has changed because of people and coming to an entirely different place than where I am from. ” Lauren McCaffrey, a second year studying communication studies from San Clemente, California, thinks her style has changed since coming to college but not at a drastic rate. It’s easy to come to college and think that everyone has their style together and their identities figured out, but the truth is that everyone’s style is constantly changing. Like a chameleon that adapts to where they are, students from all over the globe come here to Northwestern with continuously evolving and increasingly dynamic styles. With this in mind, four students from different backgrounds share their experience with having a dynamic style and fashion identity since coming to Northwestern. McCaffrey says that her adaptation to college comes from her friend, Medill student, Julietta Thron, who is from Caldwell, New Jersey. McCaffrey, like a lot of students, was exposed to new backgrounds and cultures

when she came to Northwestern. Since coming to college she has left behind her Orange County community for new influences, friends, topics, locations and experiences. After meeting Thron and spending so much time with her, McCafrey added,“Some of the stuff she wears I would have never worn. She’s influenced me with wearing different types of sneakers.” McCaffrey used to wear only three pairs of shoes back home in San Clemente, California. But since coming to Evanston, her friend Thron has influenced her to try different pairs of sneakers and shoes. McCaffrey says that Dr. Marten’s and Nike Air Force One’s are her two staples. Along with buying more shoes, McCaffrey has noticed that her style changes based on location and weather. Back in California, she was used to wearing more revealing tops, but in college, she’s changed her style to more conservative crop-tops and oversized sweaters. Overall, McCaffrey believes that she stays true to the style she’s had for so long, but since coming to North-

“I take a lot of pride in where I come from, and I think me knowing that influences a lot of my style."

• DECEMBER 2019

western, she has tweaked her style after meeting new friends. She makes sure to wear clothing that makes her feel confident but also what she feels is appropriate for Chicago. On a similar note, fourth-year and communications studies major Roderick Campbell has also adapted his style since coming to Northwestern. However, as a St. Louis, Missouri native, Campbell believes his style comes from his background. “I take a lot of pride in where I come from, and I think me knowing that influences a lot of my style,” Campbell said. Campbell described his style as “very St. Louis” due to his sneakers. Back in his hometown wearing expensive shoes is the epitome of being stylish. Although his style is connected to St. Louis, Campbell says that when coming to Northwestern his first-year was a big change. “In St. Louis, I grew up around majority black people and I come to Northwestern and it’s a predominantly white institution and I’m not seeing people who look like me on a regular basis, which I was accustomed to back home,” said Campbell. With a culture shock like this, Campbell had to adapt so that he felt comfortable his first-year. Although Northwestern is slowly becoming more diverse, it can be hard

to acclimate. However, being around new people with different experiences may mean adding new pieces to one’s identity. For instance, Campbell updated elements of his style due to the people he was surrounded by. Like McCaffrey, Campbell said that one of the main changes to his style was the type of sneakers he wears. Back in St. Louis, wearing a new pair of Nike Jordans is commonly considered the peak of style, but on campus, Campbell has realized that he doesn’t need to buy a new pair of 200 dollar sneakers in order to be considered “fresh.” “In college, I did a lot more thrifting because it’s my own money I’m spending,” Campbell said. “And I don’t want to go broke to try to change my own image.” Along with thrifting as a new way of changing his style, Campbell bought his first pair of Vans his freshman year of college. This was one of the first pieces he bought in order to adapt to “party culture.” Being able to wear a pair of shoes that are stylish but can be used as “beaters” was why he purchased a pair. Campbell believes that style and fashion can be very dynamic. He says that his style definitely depends on location and how he feels. When in Chicago, Campbell has become more comfortable with a chill style where he wears oversized t-shirts and shorter shorts in the warm weather. Compared to his St. Louis style, he considers his Chicago style more beachy and casual. All in all, Campbell believes his style has changed throughout his three years at Northwestern but he always makes sure he includes his St. Louis roots and his favorite 90’s vibes. When talking to Irem Özturan, a second-year in Weinberg, it was clear that her style changed drastically since moving from Istanbul, Turkey to Evanston. She blames most of this change on the conservatism back home. “My high school had a strict dress code and that made my style very safe and standard,” she said. Therefore, when Özturan moved to Northwestern, she felt liberated. She could wear anything she wanted, from costume-like outfits to more fashion-forward looks. The style people have on campus also affected how

“I think that fashion changes dramatically in those big shifts in life." 10

• DECEMBER 2019

she stepped out of the comfort zone she was used to in Turkey. “Americans don’t really dress up, they look very comfy all the time, ” she said, “I don’t like wearing leggings or sweatpants but this makes me look for a more comfy and chic style rather than not comfy and chic style.” This comfy-yet-chic style is seen in her favorite item of clothing she bought since coming to NU: her long brown and black checkered skirt, “I just thought they [long skirts] were comfortable and you can also be chic and it looks great. Also just because you can wear thermals or stockings to keep warm and it’s still very pretty and comfortable.” Overall, Özturan confirmed how dynamic style can be. “In college, it’s changing a lot whether it’s location or different stages in your life. I think that fashion changes dramatically in those big shifts in life.” When she talked about how she’ll dress when she goes back to Turkey, Özturan confessed “it changes so much in a year that I don’t even know what I’m going to wear this summer.” Brazilian senior Keyla Carvalho’s style, like Özturan’s, has also been dynamic. Though her style hasn’t drastically changed since she moved from São Paulo to Evanston, Carvalho admits that these changes in location helped her further narrow down her edgy style. As Carvalho adapted to the cold, she grew to love unique boots and jackets. Though these two items were definitely not made to be worn in Brazil, this didn’t stop her from wearing them back home. “I’ve gotten used to wearing boots even when it’s super hot and it’s just funny because I’m there and I see everyone wearing flip-flops or sandals and I’m wearing boots,” she said. During her abroad quarter in Paris last year, Carvalho also felt her style shift. Whereas in the U.S. she thinks that people don’t get dressed up enough to get to class, the French “dress up way too much to go to college.” Therefore, in France Carvalho felt that she had more chances to develop her style. Carvalho also recalled a specific moment when a friend of hers in France told her she wasn’t edgy enough. “So after that I started seeking edgy more, dressing in black, changing my hairstyle, wearing more red lipstick,” she remembered. Her fluidity in style continues to this day, though this time influenced by work rather than a friend’s remarks. “I had to buy business casual stuff for work and I’m trying to incorporate that because I don’t want to buy something that I’ll only wear to work,” she said. “Maybe I’ll have to dress more business casual-ly in general.” Carvalho’s style has changed after living in three different places in three years.

Whether it was because of Evanston’s tough weather or a friend’s comment that rubbed her the wrong way, Carvalho’s style is dynamic as it progressed over time into the edgy style she considers her “signature style” nowadays. Ultimately, changing one’s style when moving to college is inevitable. College is a time for growth and exposure to new adventures. It’s a whirlwind of independent decisions and individuality. With this new freedom, you’re able to decide who you want to be and alter it as many times as you want, and oftentimes, that can be through one’s style. Through new friends with different styles, experiencing different locations and drastic weather fluctuations, students experience dynamism within their styles. These dynamic shifts are as big as buying a new all black wardrobe or as little as buying a new pair of Vans. Yet, no matter the change, it’s clear to see that style is dynamic and reflects that people evolve just as much as their styles do.

• DECEMBER 2019

FRESH FACED

Photographer: Nia Adurogbola Models: Jake Chen + Sasha Rechler Director: Emily Burns Stylists: Miranda Andrade, Renee Grotthuss, Katharina Nachtigall, Emily Norfolk â€˘ Annika DECEMBER Missy12 Romoff, Sanchita Sen, de Vogel,2019 Ava White + Lizzie Zhang

H D

Water is a means for us to wash away the day and start with a clean slate. In this shoot, STITCH explores how water allows us to be dynamic in our personal expression using makeup and beauty products.

â€¢ DECEMBER 2019

SHE GOT Parents can heavily influence style and inspire their children’s fashion choices By Sarah Rosenblum

It was the end of senior year of high school, and the stress of finding a prom dress was on the rise for many graduating girls. One of them was Emma McCormick, a current third year at Northwestern. Between wrapping up school, social obligations and preparing for college, looking for a prom dress was an added burden. She became so frazzled that she thought of calling off the event, as the hours of dress shopping had led to nothing. One day, she wandered into her family storage closet and a sheer blue fabric wedged between the clothes caught her attention. She pulled out an elegant blue dress with a fitted bodice made of delicate shimmering layers that hinted at a not quite purple. The striking sheen of the dress, she decided, was perfect. “The thing that I loved the most was that it had like this really pretty beading that was the exact same color as the dress, and it was something that you don't see now because it was too ornate to be a dress you buy in 2017,” McCormick said. The perfect dress that she found happened to be her mother’s from twenty years ago. She decided to try it on, finding it to be the first dress that fit her just right, and went to go show her mom. She asked her mom what she thought, and her mom responded that it looked even better than it had on herself. Today, McCormick has noticed that a lot of what she sees people

wearing is “fast fashion,” and it’s not quite made to last. This dress that she found from her mother was evidently built to make it through the test of time, and she appreciated how well this dress was made. Today, at 20 years old, she has noticed the fads that come and go, and while she appreciates classics, particularly pieces coming from her mom, her style hasn’t always aligned with her mom’s. Although she has now developed a stronger connection to her mother’s taste, she still remains true to her differences and growth as she makes fashion decisions of her own. Tradition and bloodlines are often ingrained into the way that we unconsciously make decisions. For McCormick, she realized herself coming into her own style more after leaving home. She laughs now about how when she lived at home, she would get worried every morning about whether her mom approved of what she wore to school, so going to a private school was a huge relief because she got to wear a uniform. “And then when I went to public school, I would freak out like every morning. I would try on seven outfits because like my mom’s approval meant so much to me,” McCormick said. Around this time, McCormick would dress very simply and similarly to her mother for so many years. “It hasn't really been until I got to college where I started

kind of trying to break out of what she wore and try and make it my own,” McCormick said. “And that's a transition that I'm going through constantly.” When she has kids, she wants to give them more freedom to experiment. Growing up, she felt her fashion choices were guarded by a fear of disapproval. She recalls being accustomed to a mindset where dressing up was for other people’s opinions. She felt that what she accentuates should focus on parts of her body that other people find attractive. In 2019, McCormick believes that women are dressing not only to look good for men, but rather to feel comfortable and exude confidence. “And that doesn’t necessarily mean it’s flattering,” McCormick said. McCormick mentions how her mother was taught to wear tight clothes and that being thin was a way to show off beauty. Today, McCormick is headed in a different direction. “I’m wearing a pair of jeans that don’t highlight my butt and that go down and you don’t really know what my legs look like. But it makes me feel super confident to wear them because I feel fashionable and Parisian and cool.” Still, though, body image and appearance is something that she struggles with on a daily basis. It’s difficult to completely ignore that aspect of fashion and the expectation that everything

HER M

IT FROM looks good on a skinny body. That being said, she believes her mom has impeccable taste. She marvels at her moms unique and careful eye seen in her collection of spectacular bags. She doesn’t buy for name brands but rather for decisive stylistic choices. She has learned from her mother that being simple does not have to be boring. McCormick finds that personal style is built off of the pieces that mean a lot to you and become your staples. While McCormick admires her mom’s careful eye for quality classics, her own style gravitates towards some more contemporary twists. She has recently gotten into a brand called Min and Mon. She likes their bags and their handmade designs with little monsters and quirky designs on them. One that stood out to her was this small light pink wallet with a little winged tiger on it. Leaving the store after buying it, she felt proud to have found something different and her own. While breaking from tradition is a part of transitioning into independent college life, the other end of the spectrum involves acceptance. Rising senior at Northwestern Hannah Brown grew up in Florida where she was used to her mom, an elementary school teacher, dressing in carefree florals and funky patterns on a daily basis. Brown called them the “Miss Frizzle Wardrobe,” full of bright colors and expressive prints. Throughout high school, Brown was vocal about her beliefs that her mother’s wardrobe would keep her mom from being taken seriously. When she would come back home from college, though, she found herself raiding her mom’s closet.

“I inherited this really cute velvet top. It is actually from the ‘70s.” Brown said. “I'm pretty sure she wore part of it in her costume to some protesting rally, and then I wore it to the Women's March.” She eventually took in some dresses as well. Since she has been in college, her and her mother go back and forth with their closets. Growing up, Brown wanted to be seen as a professional, and she didn’t see that her mom’s closet fit the conventional expectations. As Brown got older, she was able to see the way that her mother

While breaking from tradition is a part of transitioning into independent college life, the other end of the spectrum involves acceptance.

later took a matching photo at that same market in 2018. In retrospect, Brown notices that her younger self’s decision to push back against her mother’s look was because she wasn’t sure how she wanted to be perceived yet. What she thought was lame as a kid is actually what she really appreciates today. Brown has always strived to be independent when it comes to self-expression, a personality trait shared with her mother. Though she thinks that clothes are physically different, Brown notices that they both like to take unique spins on generational trends. Today, Brown likes to keep up with modern trends but will also go back to her mom’s closet for a top or a fun pair of pants to pair with her more recently bought clothes. It wasn’t until college that she noticed parallels between their tastes. When she left home, she began to miss parts of her mom’s style. “The things I would kind of gravitate towards when I would walk into a store would be things I could definitely see her wearing,” said Brown. By wearing her mom’s things, she has begun to see herself as a reflection of her mother, especially as she gets older and more distant from home. Wearing these physical garments gives her a sense that she is taking the memories or experiences that the clothes have been a part of. Often times, tradition becomes a tool to build new creative directions in style. Both Brown and McCormick are examples of how breaking the mold may also still include some of the original material. “I think it's a piece of someone you can wear,” Brown said. “You can have those connections with people even when they're not physically with you.”

interacted with her peers in the workplace despite her traditionally “unprofessional” clothing. “Her costume is more of an expression of who she was and what she wore every day was very transcendental to how people viewed her, and how all the hard work she did,” Brown said. Brown notices that as her style has developed, there have been more and more similarities between her and her mother. She has one dress that she took from her mom that she later learned was from her mother’s time as a student teacher in Edinburgh. Her mother has a photograph of herself wearing the dress at the Christmas market there in December of 1980, and Hannah

MAMA

Photographer: Sarah Loper Models: Sammy Koolik, Gabi Liebowitz, & Chloe Fourte Director: Emily Burns Stylists: Miranda Andrade, Katharina Nachitgall, Emily Norfolk, MIssy Romoff, Annika de Vodel & Ava White

UNIF

Clothing is just a shell that can ta variety of bodies. In this shoot, STITC can look different and be dyna

â€˘ DECEMBER 2019

ORM

ake different dynamic forms on a CH explores how similar jumpsuits amic on three different models.

â€˘ DECEMBER 2019

â€¢ DECEMBER 2019

Stuck in

RIGIDITY

How the Modeling Agency Is and Isnâ€™t Changing By Rachael Vargas

ashion consumers have become increasingly vocal about race, body diversity and gender representation in the fashion industry. As the fashion world fumbles, consumers take on a critical role when brands release discriminatory or tone deaf campaigns and products. Articles come out voicing dissent for tasteless choices such as Gucciâ€™s black face sweater or Burberry sending a noose down the runway, and consumers call for products to be pulled. For so long, the fashion industry has been a hyper-glamorized world and not a place to look at and see the average person. The consumer is no longer satisfied with this, as fashion must be a part of their lives, and they should be a part of fashion. In the social media age when criticism is constantly buzzing, the fashion industry is listening and changing. Often in response, companies pull products, issue apologies and sometimes company heads resign. Brands are making moves to be more representative and to cater to more people. ASOS, for example, has an extensive plus-sized range. The brand Airie aims to showcase a more realistic representation of their customers by avoiding photoshop and featuring everyday people on their site. By encompassing a larger and more diverse representation of people, companies bring the fashion world closer to

â€˘ DECEMBER 2019

the actual world. As size ranges increase and consumers continue to pressure brands on their insensitive decisions, it seems that the fashion world and the actual world are becoming more representative and reflective of each other. Still, a crucial aspect of the fashion industry remains ridgid: modeling. Models are the face of the fashion industry. They wear the clothes you want, jet off to places all over the world and are the beauty that every eye beholds. The model is a near impossible standard to achieve. While consumers ask to be represented, the modeling industry remains firm in their strict standards of beauty by imposing a false depiction of perfection. It remains one of the most restrictive and repressive aspects of the fashion world, from a lack of diversity, to a strenuous life style and even to abuse.

ILLUSION Many young girls aspire to be a supermodel. However, few working models live like Kendall Jenner or Gigi Hadid. Modeling is a strenuous and physically demanding job for most models. According to the Bureau of Labor Statistics, models working in New York made an average of $48,130 in 2016, while those outside of New York earned only $36,560. Even though they are often compensated with clothing from shoots, clothes

do not pay rent or buy groceries. It’s difficult for young girls to fully understand the implications of a modeling career. The laws in place to protect underage models are lax at best. In 2013, New York extended protection initially in place for child entertainers to models. Even with regulations in place, girls as young as 13 and 14 are scouted and work within the very adult industry. These girls come of age in the rigid, restrictive and harmful standards of modeling agencies that tell them they need to lose weight. Some agencies even drop them when they start puberty. In order to work, models must fit a sample size, which ranges from a 0 to a 4, often falling at a 2. A straight size model is supposed to be 5 feet, 9 inches tall, 34 inches around the bust, 23 inches around the waist and 34 inches around the hips.Standards like these are engraved in the fashion industry. Increasing the diversity in body types on the runway and in editorial shoots requires a change in the idea of what a high fashion model looks like as well as changes to long-standing practices in the fashion industry. Designers argue that models only appear to be one specific body type because that is the size they make for the runway. Designer Tom Ford, in an interview with Harper's Bazaar, argued that size diversity wasn’t practical in the modeling industry. He further stated, “Go to any era; models were a standard size, and the clothes were made in that size. And in today’s world, models are a standard size. You make your collection and the girls come in, they put them on, if they don’t fit the clothes, they don’t get the job.” Ford’s logic explains why a majority of models fall within the same measurements, but it far from excuses it. If practicality were truly the biggest issue, would a standard sample size of two be the most practical

when the average American woman is a size 14? The modeling industry wants consumers to be drawn to the glamour of the job and not ask questions about diversity and representation.

REPRESENTATION Representation continuously peaks and falls on runways. Events such as New York Fashion Week, arguably the most important fashion event of the year, show no steady growth in representation in regards to size and gender. The Fashion Spot, a site known for its diversity reports, reviewed 77 major shows. Racial diversity on the runway is consistently increasing; the Fashion Spot reported that 48.5 percent of models were women of color. Models of color in NYFW have more than doubled since 2015 when the site first started tracking model representation. However, size and gender representation did not fare as well. Size diversity is one category that shows very little consistency in increasing representation. Fall 2019 fashion shows decreased in the number of plus size models walking the runway from Spring 2019 with only .69 percent of models being plus sized. According to Plunkett Research, a market research firm, 68 percent of American women are plus size or wear a size 14 or larger. Also disappointing is the decline in the percentage of models who are openly transgender or gender nonconforming. Spring fashion shows saw a record number of transgender and gender nonconforming models at 1.23 percent but dropped to .77 percent in the fall. Through undiverse casting, marginalized people are not being welcomed within the fashion industry.

"If practicality were truly the biggest issue, would a standard sample size of two be the most practical when the average American woman is a size 14 ?"

• DECEMBER 2019

A LOOK FORWARD The modeling industry as its stands is not in a place of accessibility. Fashion has operated for a long time on a policy of exclusivity, granting access only to those of a very specific look. Yet, while the industry is far from perfect, change has started. Brands are slowly beginning to listen to consumers’ complaints. For many years, a plus size model would not get cast for jobs in high fashion and would only receive work in lower level brands. Amanda Brennan, an agent at Natural Model Management, said in an interview with Glamour, “We used to only book a Ross commercial twice a year, and this year we’ve also booked a Macy’s commercial, two national Target campaigns, and outside of fashion, a Vodka and a Ford commercial and more”. Besides agencies like Natural Model Management that specifically work with primarily plus size and curvy models, many other big names in the industry are bringing in curvier girls and more racial diversity. Agencies such as Wilhelmina and Ford are specifically looking for plus and curve girls. Brennan continued saying for a long time brands wanted, “a blond, a brunette, and a light-skinned black girl; or they’d want a black girl, a white girl, and a girl ambiguous enough to cover the rest.” Now brands are interested in and showcasing a more encompassing portrayal of racial diversity. This progress is far from complete, but begins to show us what the future could look like if the industry allows itself to become a truly representative of all identities and bodies. As always, there is the risk that a brand will cast token girls. They could only bring on one curvier model or model of color to absolve them from fault. Thus, fashion consumers must maintain a scrupulous eye when judging brands. This progress is predominantly occurring in commercial modeling. There are some new brands such as Rihanna’s Savage x Fenty making waves on the runway, but long standing mecas of fashion such as Chanel or Givenchy keep their runways and editorial virtually untouchable. Commercial modeling is what the most consumers come in the most contact with. These are the models we see on clothing websites,

• DECEMBER 2019

on brand’s social media and in ads placed inside stores. This increase in representation within commercial work has a lot to do with the increased vocality of consumers. Brands that market primarily with commercial modeling have a closer relationship with the consumer. They sell product directly to a consumer, and it becomes crucial for these brands to showcase what their consumers are looking for. That is why brands like Aerie can be seen making choices very much ahead of the curve when casting models, as the brand features a very diverse array of models in their Aerie real campaign. They also feature models with disabilities, which is a topic of representation that is just beginning to get attention. High fashion doesn’t have the same sort of relationship in place. High fashion, in many ways, is very separatist. Through the high price tags and the star studded fashion shows they don’t just sell clothes. They sell exclusivity. The lack of diversity when it comes to who these brands have model their lines ultimately sends a message that certain people do not belong within that brand. It is not about selling the consumer what they want, but it’s more about selling the consumer what someone else can’t have. These tactics and messages need to be taken out of the fashion narrative. Diverse models need to be seen representing major high fashion brands both in magazines and on the runways. Constructs of the “practicality” that Tom Ford argues need to be torn down. As consumers, we need to be mindful of the messages brands are sending and the kind of moral codes they are portraying when they decide who can represent them. The modeling industry is one that is stuck in the past and slowly being dragged into the present by our current culture. If the industry can let go of its standards of beauty and treat models with the respect they deserve, it could be a wonderful means to represent the wide expanse of beauty there is to behold.

sweatpants & silicon valley A look at loungewear in the modern age By Joely Simon

â€¢ DECEMBER 2019

nown as the “The Sunday Suit,” the first sweatsuit hit the market in 1939. Designer Emile Camuset of Le Coq Sportif, a French sporting brand founded in 1882, made the outfit for male athletes. Sweatpants were tied to sports during the decades following its invention, according to Shaun Cole, a cultural and fashion historian at the London College of Fashion. Implicit in the name is the belief that sweatpants and sweatshirts should be reserved for relaxation and days spent at home or days for the gym. But 80 years later, fashion blog Man Repeller published an article titled “How to Make Sweatpants Look Like the Fanciest Clothes You Own.” From sweat absorbing and post-workout comfort to loose yet fitted soft pants for everyday wear, sweats and athletic wear are a case of stolen identity. Perhaps this identity of being in-trend and appropriate to wear outside of your couch on weekends is not quite “stolen” after all but rightfully earned. Sweatpants represent the dynamism of definitions and expectations. “Wearing formal clothing is thus related to psychological formality and social distance, whereas casual clothing is related to intimacy and familiarity,” according to the study “The Cognitive Consequences of Formal Clothing.” The study also states that, “For example, people who wear formal clothes describe themselves as more competent and rational, whereas people who wear casual clothes describe themselves as more friendly and laid-back.” Yet, as seen in Silicon Valley, casual clothes are not the antithesis to rational behavior. Formal clothes in some cases stifle creative and productive thinking due to their tight fitting style. On one side is athleisure, consisting of yoga pants and leggings which demonstrate the facade of a healthy lifestyle highly sought after in today’s

society. On the other side is the new trend of matching sweat outfits, responding to a need for “coziness” and a liberation from the confines of jeans. Both shifts to casual clothing reflect a larger change in ideas regarding wellness. According to the World Health Organization, wellness is "a state of complete physical, mental, and social wellbeing, and not merely the absence of disease or infirmity." Wellness goes beyond biology-based health and extends into other lifestyle choices such as allocating yourself downtime and associating yourself with healthy activities. “In many ways, loungewear has become my street style,” Weinberg freshman Julia Koffman says. “Some

in leggings and workout clothes; usually I wear these when I plan on working out later that day. I never really wear sweats unless I’ve checked out for the night or I’m just walking somewhere quickly.” Barber makes an interesting point that she would like matching sweats since it appears more “put together,” but often they’re expensive. Brands like Aviator Nation and Spiritual Gangster, which carry more form fitting sweatshirts and joggers with designs, sell at aout $80 and above for just one half of the set. Lululemon leggings sell for $98 while Nike sells in a range from $50 to $150. These higher prices indicate the shift of sweats and leggings to mainstream wear. Activewear now comprises 24% of apparel industry sales, according to the Future of Apparel study by The NPD Group. Could wearing these items be linked to “conspicuous consumption?” These looks convey the idea that one has time and money to go to the gym and workout class, or has the means to take relaxation time and wear sweatpants in public. “I figure students are all dressing for each other, not for me,” Medill Professor Owen Youngman says. “I assume that I don’t have a clue what kind of clothes you need to wear in order to feel like you fit in on any given day or in any given season, and I have yet to have a class disrupted by someone’s fashion choices… which is not to say it couldn’t happen, but it hasn’t yet.” The history of these clothing items as workout clothes or relaxation clothes perhaps allows the trend to diverge from being as pretentious as its price tag suggests. That’s the power of the dynamics at play, however. But, at the end of the day, sweatshirts will normally make people feel cozy and at ease physically, and leggings will always at some point be worn in the gym.

"Sweatpants represent the dynamism of definitions and expectations."

• DECEMBER 2019

days I’m motivated to put on a pair of jeans, but most days I’m happy just showing up to class in sweatpants and a t-shirt.” She often wears matching sweat sets, but even though she feels comfortable wearing joggers or leggings to class, she says that something still stops her from wearing them to teacher meetings. There are still people like Weinberg junior Alexis Barber who don’t wear sweats and leggings as everyday wear. Barber still associates loungewear with downtime. “I have a rule where I will either wear a sweatshirt with leggings or jeans or sweatpants with a tight top, but never all sweats because it just looks frumpy,” she says. “I have a lot of workout clothes, and I’m comfortable going out in public

LAST WORD: MY WINGS CHANGE COLOR One writer’s metamorphosis into self acceptance By Pranavi Ahuja

I was a caterpillar. Brought up in a house with three brothers, I constantly emulated them in the hope of belonging. I played cricket with them, wrestled with them and even dressed like them — proudly sporting a bob, basic khakis that reached my knees and a baggy tee. But I was naïve to think that imitating their outfits made me one of them. Though I am grateful for all that I have, sometimes it is hard to find myself. I began my metamorphosis with insecurity. When high school hit, I didn't know where I belonged— back home with my brothers on the cricket pitch or in school with my preppy and pampered peers? I ditched the bob for longer hair and headbands, and replaced my khakis with jeans. Soon, my tomboy outfits were expelled, making room for five identical pairs of Zara jeggings. At the time, I thought black jeggings and loose t-shirts would conceal me, masking any insecurities I had. But, in reality, I felt like I was suffocating by always hiding myself. I shielded my real personality with unremarkable, blendable clothing. However, without this experience, I wouldn’t have found who I really am. As high school progressed, I added layers of silk to my cocoon. In self-discovery, I was building confidence; the cricket pitch was never for me. Instead, I found my place in front of an easel and a palette full of paint. Painting gave me the outlet and self-expression I needed and ditching the khakis made room for a whole other me. As I emerged into a delicate butterfly, I began to love myself. I began to see myself clearer through my style and found that the clothing I was wearing wasn’t creative enough for me. I explored printed pants ranging from leopard to aztec (what I now consider as a complete fashion faux pas) and realized that I hold the power to satisfy my own need for acceptance. The only person who I really needed to accept me was me. People have often told me that my lips are my boldest feature However, they were also the source of many of my insecurities. Some little girls might sneak into their

mother’s dresser to put on lipstick, but I never did. Always believing that my lips were too thick, I stayed away from lip products for a long time. But, all of a sudden, as Kylie Jenner's thick lips became a fashion statement, I started to become more confident in my own. After that, every time I walked into a party, I chose a different shade to wear. For a while, Kylie's "Leo", a deep burgundy, was my dearest companion. While I no longer wear the shade, it was a significant milestone for me in my transition from insecure to confident and finally comfortable in my own skin. But then, my whole life changed for the second time. I moved halfway across the world and started college, which complicated my burgeoning sense of self. At my first college frat party, I wore an elegant white top and embellished jeans only to find students in cotton shorts and Northwestern merch. I wasn't used to casual dressing, and for the first month of college, it was a struggle to make my two worlds meet. Back home in New Delhi, you couldn’t just walk out of the house like that. You were expected to be put together at all times and dressed in tasteful clothes with neatly set hair. However, in college, people’s biggest fashion concerns were avoiding melting in the basement of a house party. But, regardless, I wasn’t going to compromise my style. My cocoon fell and I finally metamorphosed into a beautiful butterfly. I recognize the dynamic nature of my identity and refuse to conform to fashion norms. You can see me around campus wearing layered necklaces with an elegant blouse and paperbag pants or in an oversized sweatshirt and leggings, making my two worlds meet. While I eventually began to adopt athleisure, I held on to my more elegant style too. Every once in a while, my butterfly's wings change color. Sometimes they are a bright yellow, other times they have dull undertones. No matter what, I know now that my butterfly's wings are stronger than any insecurity. No blow to my confidence will threaten how I choose to express myself through fashion. • DECEMBER 2019

@stitchfashion

â€¢ DECEMBER 2019