By Julia Lehrer

While the snow and ice on the ground says otherwise, spring is only a few weeks away. As the days get warmer and the long nights of winter start to fade away, a lightened wardrobe (in both color and layers) becomes necessary. Here are six trends to add to your spring wardrobe this year.

Statement Trousers

Over the past year sweatpants have become a necessity, but a pair of wide leg trousers accomplish the same comfortable feel while still looking put together. A neutral tone can offer a chic and sophisticated look, while trying out a bright color such as light pink can make the trousers look more casual and perfect for a warm night out.

Reinvented Trench Coat

A classic trench coat never goes out of style, but this spring, designers have gotten creative deconstructing and redefining what a good trench coat means. While a classic trench will always look chic, the use of multiple materials, overexaggerated silhouettes, and unique colors brings a modern twist on a classic trend.

The Oversized Button Down

This spring including an oversized button down in your wardrobe creates endless styling opportunities. Whether the shirt is paired with matching oversized trousers, worn as a dress, or as a layering piece, an oversized button down adds unique movement to any outfit. To add even more complexity, try switching up the material of the standard cotton button down and opting for vegan leather or silk.

Exaggerated Shoulders

If it is not clear at this point, this spring we are going big. Exaggerated shoulders bring enough volume and drama to time travel right back to the 1980s. This trend can be seen on both elaborate dresses and simple t-shirts. Puffed sleeves can be the focal point of an outfit or subtle accent to add shape and interest.

Knitwear

A soft sweater is not exclusively reserved for winter! This spring, knitwear can be seen in virtually any form, ranging from dresses to matching sets. More specifically, ribbed knitwear is especially on trend this season. The ribbing is not only flattering, but it can be twisted to create more dimension and even take the place of a pattern in an outfit.

Pastels

What would spring be without pastels? Each year, different pastel palettes become popular and this year they are purple, pink, and yellow. Pastels can be seen in both casual and formal ensembles. Pastel blazers can lighten up a more formal look while a pastel knit set can elevate an everyday WFH outfit.

By Jacob Solomon

In the past few years, we have seen many designer brands collaborate with athletic brands to create cool, distinct collections. 2018 brought us the Matthew M. Williams X Nike collab. A year later, Vivienne Westwood released a collection with Asics. Playing with patterns and textures, Westwood showed us all what it means to be a fashion designer and to work across realms.

Then came 2020. And, let’s face it: staying at home, quarantining -- neither of these were the move. Life during COVID-19 was something else. If anything, all that time at home gave us time to think creatively; and fashion designers took this opportunity and ran with it. 2020 brought us over ten different fashion collaborations. Most notably: Dior X Nike, Gucci X The North Face, and Louis Vuitton X NBA.

With a growing amount of similar collections across multiple designer brands, it is no surprise that now, in 2021, the trend continues. Recently, the New York-based brand Coach announced a collaboration with the North Carolina-based sportswear company Champion. The athleisure collection, featuring around three dozen items, does its part in reinventing the athleisure category, while justly representing both companies behind it. The classic “C” stamped bags, jackets, and joggers are now further detailed with a variety of Champion logos, colors, and designs.

My personal favorite? The burgundy Coach X Champion leather jacket!

This collection is the perfect one to kick off the new year! With more than two-thirds of the year still to go, one can only imagine what collaboration will come next. I know that I will be dreaming of a Dior X Golden Goose collaboration...just an idea!

By Lauren Durniak

If you’ve been active on social media lately, odds are you’ve come across the “skinny jeans debate.” As most trends these days, the “skinny jeans debate” arose from the TikTok app, where creators were waging a war on skinny jeans. Most of the skinny jeans commentary arose from members of gen z making the decision to “cancel” the pants. Unlike millennials, gen z has strayed away from skinny jeans and jeggings, and now favor looser fits such as wide-leg pants and “mom” jeans. With the “war on skinny jeans” came the “war on middle parts,” both of which are typical fashion and beauty statements beloved by millennials. Don’t be too worried about millennials though, they are fighting back against this debate (and are giving gen z a run for their money when it comes to online feuds.)

I’m not sure exactly when gen z called it quits on skinny jeans, but once we ditched them we never went back. Our generation was raised by social media more than our millennial counterparts, and we are constantly exposed to the never-ending trends that come with every new season. What’s trending now probably won’t be trending 6 months from now, and we often flock to the newest and coolest style as seen on social media. Millennials still have a large presence on social media, but have not strayed away from their fashion upbringings as much as our generation. In the end, skinny jeans are just jeans, and the middle parts are just a hairstyle. One day our generation will probably find themselves at the opposite end of a similar debate. The question is, though, what’s the next debate? Well, if you ask me, I bet it’s low rise vs. highrise, but we’ll just have to wait to see what the fashion future holds for us.

By Anika Dilawri

The face mask has become an essential part of everyone’s wardrobe, with brands capitalizing on the endless creative possibilities for personal protective equipment. But, will your jeans soon become an essential part of your everyday life in protecting you from COVID-19 as well? The pandemic has sparked various innovations, including the emergence of “anti-viral” fashion.

Though companies such as HeiQ, a Swiss textile firm, have been developing anti-viral garments since 2013, the pandemic has provided a perfect opportunity for luxury brands to expand this technology. The antiviral fashion created by HeiQ claims to kill 99.9% of the virus within thirty minutes once in contact with the clothing’s antimicrobial fabric. Brands such as Diesel and Australian activewear brand Lorna Jane have also produced antiviral denim and athleisure in collaboration with textile innovation companies. .

The question is: are these clothes effective in “killing” the virus? Responses from experts have varied--some say antiviral clothing is pointless if the garment would never typically come in contact with the wearer’s face (such as jeans) while others say it could be effective, but is not justification for abandoning a mask. Because each brand uses different technology, extensive research will be required to test their value. Additionally, Diesel admitted that there is no guarantee that their antiviral denim products will continue to be effective after the washing machine. Because much is still unknown about the COVID-19 virus and possible variants, it is impossible to guarantee whether antiviral fashion is effective. The bottom line is that antiviral fashion may protect the textile itself from the virus, however it may not protect the wearer. Because the FDA has not formally approved any of these products, consumers should still wear face masks, maintain social distancing, and follow CDC guidelines while using anti-viral fashion as an “added protection” from the virus.

In fact, activewear brand Lorna Jane was taken to federal court in December 2020 for false and misleading claims over the protective properties of its new collection, LJ Shield. On its website, Lorna Jane capitalized on the motto, “Cure for the Spread of COVID-19? Lorna Jane Thinks So.” Due to the lack of scientific evidence provided by Lorna Jane, the brand was fined $30 000 USD as the Australian government feared the consequences of these products as they fronted the possibility of a second wave of COVID-19.

Lorna Jane responded by claiming that their products acted as an “added protection like hand sanitizer,” however, its initial advertising claims portrayed a different, more promising message. Whether Lorna Jane believed that LJ Shield was in fact able to kill the virus or whether the brand sought to exploit fears over the pandemic is uncertain; but, this serves as a lesson to consumers to remain skeptical over antiviral garments and to warn brands to make claims based on science rather than profit.

By Jacob Solomon

The car club. Admittedly, not a very glamorous thing. Historically, they have consisted of middle-aged men meeting up in parking lots to compare the headlights on their Volvo estates. But, with the growing number of successful women, there needed to be an outlet for them to show off both their earnings and their horsepower. In comes Hanan Mazouzi Sobati -- the founder of the first and only exclusively female supercar club: the Arabian Gazelles.

Recently, Australian-born Dubai-based vlogger, Alex Hirschi, aka Supercar Blondie, attended an event hosted by the Arabian Gazelles to chat about the cars and the members. As one of the most influential female car journalists, documenting an all-female supercar club further enforces the growing female presence in the industry. Outside of a picturesque building in Dubai, the women turned up for the event. Ferraris, Bentleys, Lamborghinis, and Rolls Royces were among the cars displayed. Inside them, successful women draped in couture smiled and waved.

But, is there a correlation between the French horse charms adorning their bags and the Italian horses under their hoods?

Appearing in the vlog was Gargash Hospital CEO Ghada Sawalmah. Stepping into her blue Rolls Royce Wraith, Sawalmah sported a cream-colored dress paired with Louis Vuitton earrings and a large Fendi bag. Also appearing in the vlog was Nicole Rodrigues, the founder and CEO of the Diva Group of Companies. Driving a red, $288,000 Ferrari 488 Spyder, she sported a black and gold look with simple jewelry.

Throughout the video, one can see a houndstooth bag in the passenger seat of a $340,000 Ferrari 812 Superfast, Cartier bracelets in a brand-new Ferrari Roma, and a diamond watch and Gucci sunglasses in a Lamborghini Urus.

So, is there a correlation between those women’s cars and fashion? Yes, a very simple one: nice cars pair well with nice clothes. Successful women are now showing that the supercar world is no longer dominated by men, and that Louboutin heels and Valentino pumps can push the gas even harder than a man in Tom Ford.

By Anika Dilawri

At the start of 2020’s New York Fashion Week, a rally of fifty protests assembled to bring awareness to the fashion industry’s complicit role in China’s Uighur genocide. Prior to this event, media coverge on the Uighur Muslim crisis was minimal, and even after these small efforts, coverage fluctutates in and out of the news cycle. Though the genocide has only come to the attention of Westerners in the past few years, there is a long history of tension and repression between the Chinese government and Uighurs in Xinjiang. In fact, human rights groups say that the treatment of Uighurs and Muslim minorities in Xinjiang is the largest internment of an ethnic and religious minority since World War II. So, how are our favourite brands such as The North Face and Zara connected to this?

Let’s start with a bit of history. There are approximately twelve million Uighurs, majority Muslim, living in China’s Xinjiang province. In the 1990s, anti-Han Chinese and separatist movements rose in the area, often escalating to violence. Tensions peaked in 2009 when violent riots ensued between Uighurs and Han Chinese, killing about 200 Han in Xinjiang’s regional capital. Ethnic tensions picked up again in 2017.

More potent to this narrative, the Xinjiang region also sits on a designated “special economic zone”, meaning the region is highly valued by the Chinese government for its abundance of natural resources such as oil, gas, and most importantly cotton. At least one million Uighurs and other Muslim minorities have been detained in detention camps created by the Chinese government, referred to as “re-education camps,” where they are subject to intense surveillance, religious restrictions, forced labour, and forced sterilizations.

China is the world’s biggest supplier of cotton products. As of 2020, one in five cotton products is likely to be produced in China’s Xinjiang region where these forced labour factories reside. Despite media attention to the Uighur genocide, brands such as Nike, Fila, and Victoria’s Secret continue to source cotton and yarn products from Xinjiang where Uighurs endure forced labour and poor working conditions.

It is often difficult for brands to gain visibility into their supply chains, and the control of information surrounding Uighurs by the Chinese government only exacerbates this struggle. Ultimately, these companies must cease operations with suppliers in Xinjiang if they cannot definitively rule out the use of forced Uighur labour.

Responses from brands have varied. Calvin Klein and Tommy Hilfiger deny their connection to Xinjiang. However, H&M admitted that it had an indirect partnership with a yarn producer in the region and will be reviewing their relationship. After a coalition of 250 organizations called on fashion brands to ensure they are not supporting forced Uighur labour, Adidas and Lacoste have agreed to cut ties with implicated suppliers. At the same time, due China’s substantial role in the global cotton industry, it seems as if the whole supply chain is already tainted.

Even as the COVID-19 pandemic began, forced Uighur labour continued. Uighur workers were transferred to factories outside of Xinjiang as the country went into lockdown, and were also used to restart manufacturing in factories that had been shut down.

With the never-ending string of disastrous events that have occured in 2020 and the beginning of 2021, it seems as if hope is minimal. However, there are strides being made to eradicate the fashion industry’s reliance on forced Uighur labor. The Coalition to End Forced Labour in the Uighur Region has called on governments, brands, and other stakeholders to put pressure on the Chinese government to end forced labour in Xinjiang. The coalition’s website provides information on complicit brands, news related to Uighur Muslims in Xinjiang, and ways for individuals to become involved by signing petitions and reaching out to their MPs. As consumers and brands think about becoming more “sustainable” in the fashion industry, we must not forget to practice social sustainability alongside environmental sustainability.

By Julia Lehrer

With another virtual fashion week rapidly approaching we can begin to ask ourselves, when life is “back to normal” what are the shows going to look like? Will the packed viewers and crowded venues(for a mere 15 minutes) be a thing of the past? While the exclusivity of these events has previously generated allure, the virtual experience has allowed brands to maintain exclusivity while also increasing accessibility to new viewers.

Loewe was able to walk the newfound line between exclusive and accessible by sending out boxes entitled “Show on a Wall” to present their Spring/Summer 2021 collection. Inside was a collection of items that would allow the recipient to feel as though they were actually attending the show. The contents of the box ranged from wallpaper to scented disks to sheet music and even life size posters of models in Loewe looks. While the list of those who actually received the boxes was short, the average viewer was still able to engage with the collection by watching videos on Instagram of the creative director Jonhathan Anderson talk about the different looks in his collection.

While Loewe blended exclusivity with accessibility, Moschino primarily focused on inclusivity and provided a unique experience to all viewers. Creative director Jeremy Scott was able to play up Moschino's fun, campy aesthetic by digitally transforming all participants into dolls, from the models to the attendees. Model dolls walked down the runway and guests such as Anna Wintour and Hammish Bowles can be seen on the sidelines, also in doll form. Moschino’s take on virtual fashion week has proven that even without in person events the magic of a fashion show can still exist. The future of fashion week is entirely unknown, but if brands are able to blend the exclusivity attendees look for with the accessibility the average viewer desires, they will be able to create an experience that takes notes on what fashion week used to be and looks into the future for what it can be.

By Katie Coolidge

The winter sheepskin boots we know (and love?) ironically originated on the shores of Southern California by Australian surfer, Brian Smith, in the late 1970s. In the 80s, they gained popularity in surf shops all down the West Coast only streamlining after Oprah Winfrey named the shoes one of her “Favorite Things” in 2000.

The idiosyncratic boots took the fashion world by storm. They frequented the glossy pages of Vogue, opened up a New York City flagship store and initiated collabs with the likes of Tom Brady and Jimmy Choo.

In 2008, as a third grader, all I wanted for Christmas was a pair of “Tall Chestnut UGGs.” Ubiquitous as they were among elementary and middle school girls, I needed to have a pair. It was the first “expensive” gift I had ever asked for from my parents (or Santa). $100 was a LOT.

I got them. To this day my mother says nothing can rival the reaction I had opening my UGGs. Although, yes, my taste has gotten increasingly more expensive (can you get anything for $100 anymore?) and the items more “extravagant,” to this day, nothing has beat that reaction.

So, where are UGGs now? Will they only live on in infamy through our middle school memories? Do people really still wear them?

I most recently saw UGGs after stalking fashion photographer Amber Asaly’s instagram (as I do frequently). I was surprised to see underneath her hanging rack of clothing nearly 10 pairs of UGG slippers. “Your girl is officially an UGG ambassador…” the post read.

Now, UGG slippers are one thing. They’ve caught my eye for a while now. However, to write candidly, wearing a cozy, colorful slipper around your house is entirely different than strutting down the street in a pair of classic UGG boots.

But, I needed to find out for myself the public opinion on these bespoke boots.

On a poll I recently held out of 133 of my most loyal Instagram followers, 70% said that UGGs were cool again. Now, I did receive DMs for clarification that only the “short UGGs” were back in style. But, really I wasn’t shocked.

Celebrity style so obviously has an impact on the public’s taste. When you look back, the Kardashians have flaunted the footwear on KUWTK, Margot Robbie in the airport and Blake Lively in New York City. It was only a matter of time before UGG’s narrative was re-written. All it took was the power of a few celebrities.

I personally am loving the revival. I think the slippers and the short boots are so fitting, especially during COVID-19. I recently dug out my boots from middle school and by the creative suggestion of a follower, cut down their “Tall” shape into a cute cropped boot.

UGGs ugliness is what people tend to love about them. They’re clearly made for comfort more than style. One is supposed to appreciate the dedication to the sheepskin, not the outward aesthetic. In that way, I really feel UGG has done something extremely humorous, even if unconsciously. “UGGs are ugly, but I’m still going to wear them.” Better yet, I’m going to rock them regardless of what anyone else thinks.

https://www.ugg.com/ugg-timeline.html

By Nathalie Campbell

If I’ve accomplished anything during quarantine this year it’s my TV intake (I’m probably not alone but, yet again, my hourly viewing time may be a bit excessive). To channel my inner Carrie Bradshaw (yes, I can’t wait for the SATC reboot, despite an absent Samantha, but I digress) I couldn’t help but wonder: do our favorite shows and characters influence our fashion taste? I think the answer is yes. Though we may not have events right now that warrant Euphoria makeup, we can’t deny our desire to look the parts of Rue (Zendaya) or Jules (Hunter Schafer).

If you binged Emily in Paris, you may have finished the show yearning for a green oversized Chanel coat (who isn’t!) or if you’re anything like me slicked your hair back into a tight bun, channeling your Audrey Hepburn or, in this case, Lily Collins. Depictions of strong characters with a killer fashion sense undoubtedly have an impact on what we buy or what we want to buy. To prove my point (if you don’t believe me!) my mom tirelessly searched for a stripped cashmere sweater worn by Mallory (Brooklyn Decker) on Grace and Frankie (okay, I’m digging deep), found it, bought it, and hasn’t taken it off since.

Nicole Kidmann’s long coats in The Undoing inspired me to swap my cropped puffer for a long wool trench the next time I went for my thousandth walk of the week. Good styling and costumes ultimately play a key role in my liking of the program. I think I fall asleep to Sex and the City or Gossip Girl solely for the purpose of dozing off to images of Blair Waldorf’s Vivier heels or Carrie Bradshaw’s Dior newspaper dress. They’re dreamy. Plot aside, it makes things fun.

It’s no secret that TV, film, or celebrities in general influence our style choices, purchases, and aesthetics. Oftentimes we’re excited to enter that “fame stratosphere” and the way to do that can be clothes. The influx of content to view during the pandemic brings the influx of new costume and style. I want Beth Harmon’s haircut of Queen’s Gambit, Renata’s blazers of Big Little Lies or Nurse Ratched’s color-blocked accessories in Ratched. The only difference may be that I don’t have anywhere to wear these pieces to just yet! Perhaps the wardrobe in Bridgerton may not be so practical anymore, but nonetheless gorgeous to look at.

By Grace Demeritt

When we think of the 2000s, we think of celebrity figures such as Amanda Bynes, Hilary Duff, and Lindsey Lohan. During this decade, these women sparked fashion trends that are resurfacing in recent years. Whether it’s the classic tube top, velour sweatsuits, or denim on denim, these trends were put to bed but are now reawakening. Classic movies of the 2000s have promoted lots of outfit inspiration. Jennifer Garner flaunted the babydoll dress and the small shoulder bag in 13 going on 30, both of which we are seeing in many department stores. Anne Hathaway sported the bell boy hat and the colorful wool coat in Devil Wears Prada that we gravitate towards currently. And Kate Hudson wore the classic blue jeans and white tank in How to Lose a Guy in 10 Days, which has now become the perfect outfit to throw on in a time crunch.

In light of Covid-19, fashion has shifted towards loungewear as work days take place at home. As of October 2020, Kim Kardashian joined forces with Paris Hilton to bring the velour sweatsuit back in style. Like a blast from the past, the two have been captured sporting the newest addition of SKIMS. As more styles come back into fashion, modern retailers and entrepreneurs are grasping onto the trends to stay relevant.

With the rapid pace of social media, trends seem to move faster than one can flip through the September issue of Vogue. Scrolling through instagram brings up ads that not only stay on trend, but are in fact catered to what we’re drawn to. Influencers are the new marketing scheme and it seems we are back in the pink Legally Blonde years. Halter dresses and tube tops are found in every Urban Outfitters. Barrettes have now become acceptable to wear on both sides of our heads again, and the classic school girl tennis skirt is back in style.

One of the biggest winter trends right now is the cropped sweater. High rise mom jeans are all the rage as we spent some time looking back at the ‘90s, and what better to pair a high rise jean with than a cropped sweater? Similarly, Doc Marten boots have also come back into style. What was once the girly punk rock look is now the boot for everyday use. It seems we jump from decade to decade looking for inspiration, and it is safe to say we have entered back into the year 2000.

Courtesy of Vogue, Marie Claire, and Insider.

By Katie Coolidge

What we know about Gabriela Hearst the new creative director of Chloe

She’s from Uruguay.

Hearst started her eponymous brand in 2015 after taking over the family’s sheep ranch in Uruguay. She focuses on women’s luxury ready-to-wear and accessories using sustainable fashion practices. Among her materials is merino wool sourced from her farm.

She is self taught.

Gabriela Hearst has no formal business or design education. Sketching has just always come to her naturally.

She married into the Hearst publishing Dynasty.

She married Austin Hearst (grandson of William Randolph Hearst) in 2013. They have twin daughters Mia and Olivia and currently reside in New York City.

Both she and her company are dedicated to sustainability.

Gabriela Hearst uses environmental awareness as the brand’s defining feature. American Vogue cites, “Hearst’s first runway show for fall 2017 was produced to have as low as an environmental impact as possible, and from there her commitment to the issue has only grown. Now, she sources deadstock materials, opts for eco-friendly fabrics like linen and cuts out more damaging ones such as cotton, and chooses to use recycled yarns whenever she can.” Hearst sets a goal for no use of virgin materials by 2022 and to use 80% dead stock in. Her flagship store on Madison Avenue was built without any synthetics or chemicals, only non-treated reclaimed oak. Recent innovations include radiation shielding fabrics and compostable bioplastic packaging.

Her spring/summer 2020 show was the first brand to utilize carbon-neutral fashion.

She collaborated with Bureau Betak and EcoAct, an international advisory council that works with businesses to address sustainability challenges to collaborate on how to limit her carbon footprint. Efforts included using models that did not have to fly, catering services that strictly use local foods, and reducing appliances in the show. Hearst also introduced a digital identity to the show which connects all products with a QR Code providing each garment's origin, material, production process and carbon footprint of the product.

Her sustainable efforts have won her numerous awards in the fashion community.

She has won awards in regard to the environment, emerging talent, and womenswear designer from orgs like the Fashion Awards, CFDA and Pratt’s Institute. Additionally, last year, “It won her a minority investment from LVMH’s venture arm” cites Vogue. Hearst is involved in philanthropy as well, donating many proceeds to organizations such as Save the Children, Planned Parenthood and Our Children's Trust.

She will be the first non-European to hold this post for Chloe.

The Creative Director position was previously held by Natacha Ramsay-Levi, a Parisian native who worked for Balenciaga and Louis Vuitton before Chloe.

At Present:

Hearst will continue to design the Gabriela Hearst line and plans to split her time between New York and Paris. Her first collection for Chloé will be presented next March. Hearst praised founder Gaby Aghion’s “purposeful vision” and the company’s new commitment “to create a business that is socially conscious and in balance with our environment.” Riccardo Bellini, chief executive officer of Chloé, said he has long admired Hearst’s “vibrant creative energy and exquisite sense of quality and craft. Her powerful vision of more responsible fashion truly embodies the values and sense of commitment of today’s Chloé women.” We are excited to see how her career and success progresses in this new role.

By Jacob Solomon

Moët Hennessy Louis Vuitton (LVMH) is commonly known as the largest luxury-goods company in the world. Behind its closed doors over one-hundred-fifty thousand employees are working tirelessly to maintain the business of fashion, and looking the part while doing it. There are dress codes, guidelines, and policies to maintain a certain degree of professionalism within the workplace. But different professional fields and their internal caste systems dictate different standards of dress. So while LVMH employees are working on the business of fashion, let us discuss the fashion of business.

“Dressing to separate yourself from students is important in the classroom,” says high school chemistry teacher Kristin Gregory. Despite working with chemicals and being active during labs, she does not suppress her personal style and finds ways to incorporate it into every outfit. “I’m a fan of [cardigans] and slacks or skirts -- comfortable yet polished without having to wear a dress or a blazer.” Her colleagues, Gregory says, generally wear slacks and a button-down or sweater, as well as nice tops or blouses. And as an educator, comfort is key. Gregory notes that teachers do a lot of bending, walking, and must act quickly in an emergency. Thus, non-restrictive clothing is essential for both the safety and comfort of the teachers and students. “I stay somewhere in the middle [between casual and super formal] because of the lab/prep work that I do,” says Gregory. Pockets, she exclaimed, are “a teacher’s friend.”

Shifting from teaching to legal work means shifting from that “middle-ground” to the top of the hill. Or does it? Executive administrative assistant Alyson Scheidler and senior litigation paralegal Leanne Melnick state the notion of a law firm’s being “suits and high heels is becoming outdated,” and that business-casual is becoming the new norm. “To me,” says Melnick, “that’s a general description...without specific detail, [and] people can and will infer different opinions about what that constitutes.” Scheidler agrees, “I feel business-casual and athleisure are appropriate for usual day-to-day work.” Although these women agree on a more business-casual theme for at-work apparel, jeans are a hot topic. Scheidler thinks “jeans are acceptable as long as they aren’t too distressed,” and while Melnick agrees, her legal partners “don’t want the casual look of jeans.” Thus, they are prohibited at her firm. Both of them note, too, that ultra-casual items of clothing such as flip flops are never appropriate attire for a law firm, even on casual Fridays.

Although a more casual style of dress is newly welcomed to certain workplaces, some people have been embracing such a style for decades despite their positions. Mindi Axner, the executive director of the National Council of Jewish Women (NCJW) Cleveland, claims that throughout her entire professional career she should be “dressing up” from her (then and now) current position. “My feeling,” she says, “is I think it’s important for me to dress for comfort and warmth and I believe that there’s so much more to a successful individual without having to look at how they’re dressed.” That “under-dressed comfort and warmth” she is referring to usually, for her, means a turtleneck sweater, slacks or khakis, and a scarf, perhaps. She does note, however, that if she must be seen in public she will dress up more to assure she does her organization justice and present herself professionally. From the 1997 film Picture Perfect, Axner cited this quote to sum up her opinions on dress in the workplace: “Dress for the job you want, not the job you have.”

When it comes to workplace attire, each job has its own rules about how employees should dress. Written or unwritten, these rules face large amounts of controversy (Axner), reform (Scheidler and Melnick), and individualism (Gregory). Are we approaching the days where workplace dress-codes will be obsolete? Or when commonly-deemed “informal apparel” becomes normal work attire? Only time will tell. For now, let us just make sure the part of us the Zoom camera sees is appropriately dressed. But don’t forget to let your own personal style shine through.

By Julia Lehrer

Last February as Autumn/Winter 2020 fashion week narrowly closed out, people all around the world were wondering what the next few weeks were going to look like. Covid-19 had already struck through China and was beginning to creep into Europe and the United States. When a two week shut down turned into an infinite event, designers needed to come up with ways to keep consumers interested in a time where retail spending would be on the decline. In reflection, the first few weeks of quarantine people seemed the most imaginative and creative. For fear of consistently living in uncertainty, people looked for an escape from life at home.

Brands like Marc Jacobs and Alexander McQueen used this period to connect with consumers and introduce programs such as Marc Jacobs’ “Draw With Me” and Alexander McQueen’s #McQueenCreators. The “Draw With Me” series invited Jacobs’ social media followers to Instagram live sessions in which illustrators, designers, and make up artists hosted follow-along drawing sessions of their favorite pieces from past collections or “Marc moments.” Similarly, the #McQueenCreators initiative invited their followers to create art inspired by aspects of the Spring/Summer 2020 collection. Both virtual events offered followers a chance to be featured on their social media platforms and provided a creative space for people to connect.

While some brands took a more traditional and artistic approach, Alexander Wang and Jacquemus pivoted to an unorthodox social media strategy. When Jacquemus posted pictures from photoshoots of Bella Hadid and Barbie Ferreira that occurred over FaceTime, people went wild. This was the first time FaceTime was used not only as a marketing tactic, but also as photoshoot inspiration. In the weeks following, posts about photoshoots occurring via FaceTime and Zoom were everywhere. Jacquemus’ Facetime campaign, “Jacquemus at Home” was both a marketing tactic to incentivise sales, but also showed followers a new way they can maintain a social media presence.

Events like Wang Fest in 2017 and the infamous gas station party of 2009 help emphasize Alexander Wang’s love for parties. As both a person and designer, Wang takes inspiration from the New York City club scene and often pays homage to it in his collections. To fill the void of an exciting night out, Alexander Wang’s “Staying Home with Alex + ____” invited followers to weekly live sessions in which Alex and guests ranging from Normani to Hailey Bieber hosted Instagram Live sessions filled with discussions about skincare, favorite TV shows, and DIY projects. Jacquemus and Alexander Wang, while in the past distinctly different brands, utilized their social media presence to connect with consumers to both inspire them and provide an experience to resemble a night in with friends.

In contrast to Jacquemus and Alexander Wang’s innovative approaches to social media, brands like Prada and Dior took a more educational route. Prada announced their “Prada Conversations” forum in which they hosted Instagram Live interviews with professionals in fashion-related industries to discuss the future of fashion, how they are managing the pandemic and what happens next. Speakers included Olivia Wilde, Lee Daniels, and Arianne Phillips. Each speaker provided their own insight into the future of the fashion industry. During quarantine, Dior started their #DiorTalks podcast series, “The Female Gaze,” which was a three part series including interviews with Dior’s creative director Maria Grazia Chuiri, stylist Maripol Arama, and photographer Janette Beckman. The mini series aimed to introduce Dior’s consumers to leaders in fashion-related industries and amplify their perspectives on various topics as they apply to Dior.

As the pandemic continues, brands are still finding creative ways to maintain their relationships with consumers. Not only do brands need to come up with unique ways to maintain interest, they need to be true to themselves. Marc Jacobs and Alexander McQueen’s artistic approach aligns with their creative aesthetics, while Jacquemus and Alexander Wang appeal to their youthful customers through unorthodox social media initiatives, and Prada and Dior use educational events to attract a more mature consumer. Each designer’s program showed that brands can represent themselves in their own way while adapting to today’s unique and unprecedented circumstances.

By Nathalie Campbell

Weekend update! Well, perhaps, weekday update. Superstar Rihanna’s eponymous company, Fenty, has come to a halt. As of Wednesday, French fashion conglomerate, LVMH announced it would cease operations with the brand. Now, you may not know that Fenty was LVMH’s first fashion brand built from scratch in over 30 years (they started the wonderful Christian Lacroix label in 1987).The luxury powerhouse is known more for its backing of large pre-existing companies.

It comes as no surprise that the beloved celebrity’s brand started out with a bang after its initial launch in 2019. But after the pandemic hit less than a year later, Fenty struggled to maintain traction (I know, I swore I’d get through an article that didn’t involve the mention of COVID-19, but these are the facts people)! Pandemic aside, the brand’s downfall did have a lot to do with LVMH’s minute experience with initiating new companies rather than expanding established ones. It’s tough. The Fenty endeavor was definitely a push for innovation-- for LVMH to showcase its prolificacy in maintaining and expanding brand prestige. Perhaps this announcement suggests that they should stick to their roots (or maybe I am being cynical).

The excitement behind Fenty was that it was backed by star power. Though LVMH may have been shaky launching a new name, there was cushioning knowing that music mogul Rihanna’s name was behind it. Who isn’t going to want to buy Fenty if it means entering into a small sliver of Rihanna’s world? In fact, a release from BOF stated that the star’s “‘Navy’ of 91 million Instagram followers were a key audience” at the start of the launch.

Unfortunately, there was a lack of consistency in the demand for products from the Fenty line. Attempts to maintain a desirable price point eventually drove a less desirable product. Therefore, consumers at the lower pricepoint were hesitant to buy due to a lower quality. So, once again, who wouldn’t want to look like Rihanna, right? It’s true, most of us do. But ironically, the segment of luxury shoppers who did want to mimic her continued to do so, only not by purchasing Fenty. I’m sure anyone who follows Rihanna sees her sporting designer icons from Saint Laurent to Off-White. And so, the subset that could afford to do so bought from those companies instead--still maintaining the Rihanna facade and maybe even gaining a little extra clout depending on who you’re talking to!

So among the pandemic hurting sales and all else, keeping Fenty afloat wasn’t going to work. But for any Fenty fans out there, not to worry as the superstar still remains successful in her Savage X Fenty lingerie line and her beauty line, Fenty beauty. According to BOF, just this week, private equity firm L Catterton (backed by LVMH) led a $115 million investment round in Savage.

The fashion industry is precarious enough as it is and I think that clothing lines have really taken a hard hit during this time, so it makes sense that underwear and beauty products may be more on our radar during time at home. That said, the Fenty name lives on, just in different form.

Courtesy of Business of Fashion

By: Anika Dilawri

When we think of epicenters in the fashion industry, we usually think of Paris, Milan, New York, or London—rarely do we think of India. Despite this, India is the manufacturing backbone of multiple luxury brands and businesses. India’s fashion industry is not exclusive to fashion design, but also includes sectors such as textile research, fabric manufacturing, and embroidery. Much of this behind-the-scenes work is produced by local Indian craftspeople, known natively as karigars. If you have ever owned or admired the intricate embroidery of Dior’s saddle bag, you are looking at the work of karigars. If Jennifer Lopez’s iconic Versace jungle-print dress took your breath away in 2000, and once again in 2019, you owe it to India’s karigars. For decades, designers have been inspired by Indian culture and profited off of karigars’ work while refusing to reward their talents.

The disregard for karigars in the luxury fashion industry has had devastating effects on their ability to provide for themselves and their families. The COVID-19 pandemic has only exacerbated these struggles as garment orders are being cancelled and demand in the market decreases, causing a drastic loss of income.

As a result, Vogue India has teamed up with Natasha and Adar Poonawalla, Indian philanthropists, currently working to develop a COVID-19 vaccine, to create the “To India, With Love” virtual fundraiser. This fundraiser, which began on October 9th, 2020, unites the creative community in support of Indian karigars and the artisanal community. Through auctioning off one-of-a-kind pieces from Indian and international designers, funds will go directly to karigars and their families to buy basic essentials and food rations. The fundraiser includes participation from international designers such as Prabal Gurung, Christian Louboutin, and Giorgio Armani. The creations of Indian designers such as Anamika Khanna and Rahul Mishra are also showcasing India’s talent. In partnership with GiveIndia, Vogue India, the Poonawallas, and local Indian designers are creating meaningful changes for karigars and their ability to survive the pandemic. However, it is the involvement of international celebrity designers that begins to erode the efforts of “To India, With Love.”

The participation of designers such as Giorgio Armani in this fundraiser is a performative act that erases the meaningful work of Vogue India, Natasha and Adar Poonawalla, and local Indian designers. In a statement provided to the virtual fundraiser, Armani praises India’s “sense of mystery and majesty”, its “spirit of adventure”, and its “exotic” nature. By partaking in this event, Armani intends to show its appreciation for the skills of local artisans and Southeast Asian culture. However, it is hard to believe that Armani’s brand has a genuine appreciation for the Indian artisanal community when observing the brand’s current practices.

In August 2020, the “Clean Clothes Campaign”, an organization dedicated to improving working conditions and empowering workers in global garment industries, revealed that Armani refused to sign their “Apparel and Footwear Supply Chain Transparency Pledge.” This pledge commits brands to publish information about the factories they source from and workplace practices. The pledge was inspired by the Rana Plaza collapse in Bangladesh in 2013. It is especially relevant to Armani as a brand who has outsourced manufacturing to Bangladesh and India and relied on karigars to produce the brand’s “Indian-inspired” products.

If Armani appreciated local workers and karigars as he claims, his brand would be fully transparent with their supply chain procedures and conditions of local workers in India and neighbouring Bangladesh. Perhaps this “sense of mystery” that Armani praises India for stems from the fact that his company refuses to be open about their own workplace conditions in Southeast Asia, hiding potential abuses of local workers in India and Bangladesh. Maintaining social sustainability through adequate workplace conditions and payment is especially important in the COVID-19 pandemic as these workers fight to make ends meet.

The luxury fashion industry has taken advantage of Southeast Asian culture and its people for far too long. The money raised by the “To India, With Love” campaign will only serve karigars on a short-term scale as they fight for survival during the pandemic. If designers continue to depend on the traditional knowledge and skills of India’s karigars, they must begin to provide fair compensation and adequate workplace conditions. India’s artisanal community is the backbone of the fashion industry, and its people cannot carry this back-breaking work for much longer.

Here is a link to the recording of the “To India, With Love” virtual fundraiser that occurred on October 9th, 2020.

https://youtu.be/3Kt5gRipbqE

By Katie Coolidge

World renowned fashion designer Kenzo Takada, creator of luxury fashion house Kenzo, died from Covid-19 complications earlier this month. He died, sadly, amidst Paris Fashion week. Kenzo, serves as a very human reminder that Covid-19 does not discriminate against an adored fashion designer or anyone else. Today, we will chronicle his history and greatest achievements as a tribute to his long-endured legacy.

Kenzo was born in 1939 in Himeji, Japan. Fascinated by fashion at a young age he would often steal his sisters’ fashion magazines and learn from their sewing lessons. Kenzo attended the University of Kobe to study literature, but left soon after to become one of the first admitted male students to Tokyo’s Bunka Fashion College.

In 1965 Kenzo visited Paris, unaware he would stay, "He was supposed to be in Paris only for two years [but] spent the rest of his life there. He took Paris by storm," said Circe Henestrosa, head of the school of fashion at Singapore's Lasalle College of the Arts. He became the first Japanese designer to gain notability in Paris.

He began selling sketches to fashion houses, but later decided to strike out on his own, naming his shop “Jungle Jap”. "One of the first paintings I saw in Paris and fell in love with was a jungle painting... and that was the inspiration for the shop" Kenzo explains. His clothes display bright graphics, loud colors, and mismatched prints reminiscent of his travels. "His native Japan remained the source of inspiration for every collection he did. He kept the use of vibrant colours and volumes present at all times," said Henestrosa.

While his clothes held true to his Japanese culture, his name caught controversy in the United States. Being labelled a “Jap” for many years was racially charged and created consumer opposition to his well-intentioned line. Even though Kenzo knew it “had a pejorative meaning," he told the New York Times in a 1972 interview, "if [he] did something good, [he] would change the meaning”.

Caving in to the untapped American market potential Kenzo rebranded his name, literally.“Kenzo” had arrived.

By ‘76 he established his flagship store in Paris’ Place de Victoires. His successes followed: magazine covers, a perfume empire, and at the height of the brand’s success, its purchase by LVMH in 1993.

Even in retirement, Kenzo remained creative. In 2019 he was lured back into design to create the costumes for the Tokyo Nikikai Opera Foundation’s production of Madame Butterfly.

This year marked his final project: a new interior design brand called K3. "Kenzo Takada was incredibly creative; with a stroke of genius, he imagined a new artistic and colourful story combining East and West -- his native Japan and his life in Paris," Jonathan Bouchet Manheim, CEO of Takada's K-3 brand said, “He had a zest for life... Kenzo Takada was the epitome of the art of living," he added.

Even near the end of his life those who knew him emphasized Kenzo’s active spirit, love for creation, curiosity and open-mindedness. Though mixed-culture fashion may seem more common today, Kenzo was a pioneer. One could get lost in the novelty of his fashion (tent dresses, oversized dungarees and shoulder shapes), but Kenzo's most important integration to his brand was himself. Using his name as his brand identity, Kenzo was a force to be reckoned with. He stayed true to his identity and his brand will forever live on; because there will only ever be one Kenzo Takada.

By Katie Coolidge

Fashion is ironically reliable. While style is ever changing, the houses that consistently create it stay the same. Gucci, Chanel and Dior, three powerful fashion houses, while originally French and Italian, can be found sitting in almost any major city worldwide. No matter what location, fashion follows. It is a sort of comfort that whether in Aspen, Singapore or London you can find a similar fashion community connected through the same couture collections. So in a dichotomous sense, the more the world changes, the more fashion stays the same. Or as the french say, “plus ça change, plus c’est la même chose”.

Globalization has shown considerable benefits: we have access to diverse cultures, lower costs of products, new talent and markets. But, these benefits can cause us to overlook the limitations. The most prominent issue we face is the disappearance of niche culture. Independent local products and manufacturing fashion companies are almost nonexistent. Finding a local boutique will soon be equated with finding a dinosaur: extinct.

Innovation and craftsmanship are far from dead as designers showcase inspiring collections on the runway each season. Some designers make a huge effort to discover antiquated fashion like Sarah Burton for Alexander McQueen’s Spring Summer 2020 show in Paris (harnessing “humble traditions of the handspun”). But the truth is, not much of it remains. It’s not impossible to find because it is in remote locations, but because unknown places and techniques no longer exist in our globalized world.

Arguably the biggest player in fashion globalization is LVMH. Just as the media and financial world are controlled by a handful of companies, so is fashion. Moët Hennessy Louis Vuitton, more commonly known as LVMH is a French MNC based in Paris, specializing in luxury goods. Moët Hennessy merged with Louis Vuitton in 1987.

To become the biggest in international business there are two ways to expand: greenfield investments (FDI where they construct new facilities) or M&A (mergers and acquisitions). LVMH used the path of M&A to essentially become a company “too big to fail”.

Through the process of mergers the company now controls around 60 subsidiaries under the umbrella of six branches: Fashion Group, Wines and Spirits, Perfumes and Cosmetics, Watches and Jewelry, Selective Distribution, and Other Activities. Horizontal integration can be a risky move for any business, but on this scale it is almost mystical. LVMH’s ability to control countless industries with little competition is represented most successfully by the fashion industry. Their mergers include the majority of fashion houses we know today including, Bvlgari, Dior, Celine and Givenchy.

While LVMH is relatively new, many of their brands have a long dated history. When entering this globalized world, what happens to the integrity of a brand? Is it possible for brands to maintain their global presence without losing their family feel?

For example, Hermès valiantly defended itself against the prophesied LVMH takeover to preserve their family values in 2010. The Hermès family, owning about 73% of their company, created a holding company grouping more than 50 percent of Hermès shared capital and clearly stated, “LVMH will never take control of the group”. Bertrand Puech, chairman of Emile Hermès, the family management company, said in an interview published in Le Monde, “We are a united family, animated by one spirit, one to transmit to our descendants the unique jewel received from our parents.” While unfortunate for Bernard Arnault, head of LVMH, this action allowed Hermès to protect the essence of their business: family.

While Hermès may feel as though they are a family business in bypassing the grips of LVMH, their workings are no longer truly contained in their boutiquey parisian roots. We have moved into a Darwinian era of fashion business, expand or die, evolve or perish. The increasing pressure to take a global stance leaves companies in the tradeoff between becoming an MNC or keeping in with their founding values. Whether or not that company has a “parent company” has little to do with this loss of identity. It seems that in going global in any sense companies are required to lose pieces of their primordial self.

By Lauren Durniak

This hidden gem isn’t so hidden anymore. With classes held online, GW students have had to adapt to the new normal and change how they go about their classes. While we can’t spend our midterm weeknights cramming in Gelman Library anymore, a new study spot has emerged. The “sorta” South American inspired cafe and bar, Mercy Me, has quickly become the new hot spot for GW students to study, dine, and connect with each other. With a comfortable bohemian style interior, Mercy Me is the perfect place to hunker down and get studying. Mercy Me resides in the Yours Truly hotel in West End— walking distance from several off-campus housing options and campus.

Study spaces are hard to come by these days, and Mercy Me has swiftly become the favorite for many students. With an upbeat and welcoming atmosphere, the spot offers students a much-needed change of scenery after monotonous days of online classes. Social distancing regulations have forced many of the popular DC study spots to reduce seating capacity or even shut down. Finding your favorite niche coffee spot is not as easy as it used to be! With open floor-to-ceiling windows and socially distanced tables, the restaurant has become a safe space for students to gather and get their work done amidst this strange semester.

Whether you are looking to get some work done or for a cute spot to grab brunch or a drink, Mercy Me has it all. The restaurant offers breakfast & lunch, brunch, and dinner, serving up dishes with a bit of South American inspired flair. Next time you find yourself feeling cooped up or in need of a change of space, give Mercy Me a try. You never know… it may become your new Gelman!

This year's Milan Fashion week was a week like no other. With social distancing measures in place, fashion houses and designers are forced to create new and innovative ways to show off their new collections safely. For many, this meant hosting hybrid or even entirely digital shows, and Moschino was among one of many brands that had to reinvent what we think of the quintessential fashion show.

Instead of a typical catwalk with live models parading in Moschino’s new luxury designs, creative director, Jeremy Scott, went a “tinier” route. The digital show was live-streamed on Youtube, but the models were not who you’d expect. The entire audience and models in the show were scaled down into marionette puppets that donned miniature versions of the Spring/Summer 2021 line. The show even included puppet sized replicas of Vogue Editor-in-Chief, Anna Wintour and one of Scott himself. The show was inspired by Théâtre de la Mode, where in World War II France, designers put on traveling fashion shows using mannequins instead of live models.

While this show was extremely innovative and creative, it poses questions about fashion week’s future. Without the ability to host live, in-person shows, brands have invented groundbreaking ways to reach their audiences. Jeremy Scott strayed away from using live models in lieu of their puppet versions but admits in a CNN Style interview that he misses the energy that comes with live shows. While I believe that we have not reached the end of the model yet, the future of the runway seems to be headed in a less traditional direction. Will brands move back to conventional runway styles and stick to the usual rules of fashion month, or will they take a more futuristic and innovative approach?

By Jacob Solomon

When people think of Cleveland, Ohio they probably think of the Cleveland Clinic, the Browns or the Cavs, and the Rock and Roll Hall of Fame. These attractions bring in people from all around the world to experience the various goods and services they have to offer. One thing that Cleveland is not necessarily known for, however, is its ties to the modeling and fashion industries. Cleveland is bursting with trendy millennials and gen z-ers who are ready to sink their teeth into professional modeling, and not to mention Kent State University’s globally ranked fashion merchandising and design programs. But Cleveland is not a “popular” city such as New York City or Los Angeles and, thus, it is hard to convey one’s influence in the modeling and fashion industries. However, it is not impossible.

Orange High School graduate, Brooke Singer, has been growing her brand over the last few years. Beginning with smaller gigs at boutiques like Tre Sorelle in Little Italy and the Cleveland Museum of Art, Singer (18) has skyrocketed herself and has recently walked in shows at both New York and Paris Fashion Week. “[It’s] all about who you know,” said Singer, “you have to be willing to turn enough corners to find the job.”

As a model during high school, Singer had to find a balance between work, school, and extra-curriculars, such as theatre and varsity football, soccer, and track. She said her parents were supportive of her modeling, but they made sure school was her top priority, even if this meant denying invitations to be part of events during school. Though, her parents did let some things slide. “Sometimes I would fly to New York -- not even stay the whole day -- then fly back [to Cleveland] and play a football game the same night.” This did lead to some adversity. She noted that girls never really liked her, and that, due to her modeling, people had a preconceived notion of who she was before they had met her. “People knew me when I didn’t know them…[they] assumed I was stuck up or snobby, the total opposite of what I am.”

Nonetheless, her passion for fashion allowed her to ignore all the negativity and focus on advancing her career. “I can’t pick a favorite show!” She exclaimed. Singer noted, though, that walking for David Paulus at Paris Fashion Week and opening the show for Jevon Terance at her first New York Fashion Week were among those that stood out. She stated, too, that her full eyebrows were a huge factor in getting scouted. They, she says, are a big reason as to why she is so successful.

Although Singer praises the modeling industry, she admits that there are some bad politics governing it and that racism and “blackfishing” are prevalent. She recounts that at a number of events she has attended, the makeup artists and hairstylists did not know how to work with people of color. Despite that some models bring their own foundation and other makeup, the professionals are lacking the ability to work with non-white models. “In order to be a makeup artist you need to be trained with colored hair and skin.” She hopes that the respective industries will fix this issue in the future, but acknowledges that currently “the industry needs to do better.”

Since COVID-19’s appearance back in March 2020, Singer has refocused her attention to social media influence. In addition to her 26k followers on Instagram, she has amassed a large fanbase on TikTok with 103k followers. She says that TikTok has played a “vital role” in her social media-influencing career, and has allowed her to connect with many people.

Now a fashion sustainability major at the Fashion Institute of Technology in New York City, she is working hard (from home) at maintaining a high GPA while simultaneously creating content for her thousands of followers. While she does not know exactly what she wants to do professionally, she noted that her goal is to positively impact as many people as possible. She stated, “Absolutely anybody can be a model. It doesn’t matter what you look like, it just matters if you want it...you need to embrace yourself.”

By Katie Coolidge

In light of Vogue magazine’s October cover story featuring Rihanna, one can survey the growing relationship between fashion and music. While the editorial originally created buzz due to the unorthodox journalistic methods of its writer, Abby Aguire; I saw it as a written revelation of the exchange between merch and music.

The notion of creating merchandise to accompany newly released albums is not a modern idea. The first concert t-shirt was reportedly made by an Elvis fan club in the late 1950s. Since then, the concept has gone viral. The movement has since taken over most industries in the fashion world. Makeup, footwear, athleisure and ready-to-wear fashion have all become fair for musicians in their prime to sell as merch.

But why? Fashion is not their wheelhouse, shouldn’t their primary production always stay centered around music?

In a way, it actually is.

“Bundling” is the proper term for the brilliant merch marketing that musicians use. In the past, when a new album dropped, kids would head over to the store to buy a physical copy of a CD or record. However, as technology has advanced, the way we consume has changed. In the streaming era, the profits an artist can make off digital song sales are miniscule. In order to top the charts they have to get creative.

When Travis Scott sells you a $20 dollar Astroworld hoodie, his merch team will also throw in a “free copy” of the CD, likely built into the price of the hoodie. These physical sales make up for the funds they have lacked in digital revenue. In this way, an artist can claim “I sold a million records” when in reality they sold their weight in tee shirts or hoodies.

Since merch sales can help send artists to the top of the charts, it becomes less about the music and more about the numbers. A prime example of this, was a feud that broke out between Travis Scott and Nikki Minaj. When Travis Scott’s Astroworld took the no. 1 spot on the Billboard 200 ahead of Minaj’s album Queen, Minaj struck back. She claimed that his aggressive merch sales, topped by advertisement help from then girlfriend Kylie Jenner advanced his album in an unfair manner.

So where should the line be drawn ?

The lure of producing merch is very clear. It gets audiences hyped up, yields essentially free advertisement and spikes artists to the top of the charts. But is creating a fashion collaboration with Virgil Abloh the thing that should affect the success of one’s music? I’m not sure.

From one side, Rihanna’s pursuit of Fenty beauty during a nearly three year hiatus from writing albums is worrisome. How will the hype of her brand persist if she is no longer producing the music that got her an audience in the first place? However, her net worth of $600 million says differently. In her specific case, Rihanna may just be adjusting her image. But is it possible that she may become a full time designer and a retired musician? Who knows?

As we continue to watch the trends of icons like Kanye, Travis Scott, Migos and Rihanna, we expect that future fans will not only embrace their music, but their innovative fashion design. In musicians’ quest to revive the success of the “band tee”, it will be interesting to see what the next generation of artists have in mind for the growing merch industry.

By Grace Demeritt

Celebrities have the ability to take a brand to the top and Hermes is no exception. Jane Birkin, an English actress, met the owner of Hermes on a flight to London. Jane, carrying her weekend attire in a wicker basket, complained to her seatmate about how hard it is to find a weekend bag that can fit in the overhead of the plane. It was this conversation that started the development of the Birkin bag.

The Birkin has now become the most expensive and coveted handbag on the market. Starting at $7,000 and going all the way up to $500,000, putting the purse out of most of our budgets. Purchasing a Birkin is not just a shopping spree on steroids, it is an investment.

So why are people so drawn to these bags? The Birkin bag has broken the record of being the most expensive bag ever sold, and it isn’t just because it is made out of high quality materials. Hermes has made the Birkin bag so unattainable that their designers even have to prove their worth. Artisans at Hermes spend years training before they are even allowed to construct a birkin, and once the bag is designed, only a limited amount are made. The Birkin bag has become a status symbol among socialites and celebrities worldwide. It has even made it on several TV shows. Sex and the City devoted an entire episode featuring Samantha Jones fighting to get on the waitlist for the “new red Birkin” and the show Gilmore Girls claimed when a man gives his girl a Birkin bag, “it’s only a matter of time before a ring enters the picture.”

Purchasing a Birkin bag is not such a simple task, even if you have the money, you cannot just walk into Hermes and buy one. Those waitlists Samantha Jones screamed about on the streets of Manhattan are no longer an option. Birkin bags are now offered, at a steep price, to people who have spent enough money, or are important enough to hold the bag in public. This bag has become one of the most exclusive items on the market, and for some, a major collectors item.

The Birkin has been proven to be a worthwhile investment. Many Birkin buyers purchase the bag with the intention of reselling because of the extremely high value. Buying one can ensure that in years to come you could sell the bag and turn it around to make a profit. In fact, it has been noted to be a better investment than a share in the stock market. While most bags go out of style, the Birkin bag has proven not just to be a great purchase in the moment, but a purchase you wont regret for years to come.

Courtesy of Irene Kim and Jack Houston from Business Insider, Emily Selter from Town and Country, and Ana Eksouzian-Cavadas from Harper’s Bazaar.

Image @vintagebymisty

By Lauren Ofman

“We’re freeing fitness from performance and bringing back Doing Things For Fun.”

This statement is highlighted on the website of Outdoor Voices, an athletic-wear company that is revolutionizing the way people view working out. The “Doing Things” movement is one of the fundamental components of their company’s mission. Outdoor Voices encourages people to stop viewing working out as more than just moving your body.

Often, people see fitness through a competitive lens and OV is working toward redefining fitness by using it as a tool to unite people on a human level. Instead of measuring who is the fastest, OV would encourage you to measure how much fun you can have while going out and moving your body. Their clothing reflects this shift: from leggings, to hoodies, to shoes, their clothing is the epitome of athleisure.

The athleisure trend is relatively new in the fashion world, but it became popular for a reason - workout clothes are simply more comfortable. The trend popularized the need for people to live their lives comfortably, while still being stylish. Lululemon paved the way with their timeless styles and high quality materials, but OV enhanced the trend by incorporating high fashion styles that strayed away from just simple leggings and sports bras. Not to mention they also emphasize the importance of sustainability and being aware of our impact on the planet.

One of OV’s most treasured styles is the Exercise Dress, which allows women to embrace their femininity while still staying active. They are also well-known for their TechSweat line, which is expertly designed to absorb sweat and keep you cool through every workout so you can “sweat with confidence.” You may notice that there aren’t many products on their website, which honestly can be a good sign, since that means they value quality over quantity.

OV’s emphasis on sustainability contributes to their limited styles since every item is made and handled in a sustainable way. They are also designed with the intention of doing their job of keeping you cool and comfortable despite the workout.

Overall, Outdoor Voices is dedicated to defining athleisure by applying the trend on a human level. Working out can suck sometimes, but their clothing is meant to make you feel strong, so get out there and sweat confidently.

By Katie Coolidge

Wtf is it? Maison Margiela’s ability to create the mesmerizing Tabi shoe has left many amazed and bewildered. Is it a hoof? Is it a sandal? By exposing the anatomical structure of the foot on the outside of a shoe forms feelings of discomfort, yet a profound sense of curiosity among almost all who view the shoe.

The Tabi was not invented by Margiela, in fact it was created almost 500 years beforehand. In the 15th century, Japan began importing cotton from China. The country then began producing socks with divided toes to be worn with thonged sandals. Eventually, these cultural socks came to denote socio-economic status of the wearer. One was able to differentiate peasants from performers merely by the color of their tabi socks. Even though Margiela did not invent this seemingly strange trend, he was able to brilliantly recognize and repurpose something that had been established and re-introduced it to the high fashion consumer.

As a young designer, Margiela revealed his bizarre vision to owners of Cocodrillo, a designer shoe shop in Antwerp, Belgium. Owners, Geert Bruloot and Eddy Michiels’ sole purpose for their store was to offer pieces that thrilled them. Cocodrillo carried the Tabi shoes before Margiela’s first solo show in 1988. At the show, Margiela covered his models in red paint so that the footprint of the shoe would be left embedded on the white catwalk. He claimed in an interview that, "[he] thought the audience should notice the new footwear. And what would be more evident than its footprint”?

“The Tabi boot is the most important footprint of my career. It’s recognizable, it still goes on after 25 years...” said Margiela to Bruloot, “I wanted to create an ‘invisible’ shoe, the illusion of a barefoot walking on a high, chunky heel”. The concept of the shoe is certainly novel, it looks as though it could be put in a museum display.

However, how does Margiela’s Tabi shoe appeal to the average consumer?

In the end, the allure is less about the shoe and more about the attention it draws to the person wearing it, “The Tabi isn’t for everyone, but then again, what is for everyone?” says Oslo-based fashion journalist, Madeleine Holth in an interview with HighSnobiety. “It’s easy for people to hate things they don’t understand or want to understand. The Tabi is a strong historical garment that has been reworked to fit our modern wardrobe. The wearer doesn’t care whether you like it or not. That is the power of the split toe.”

Regardless of who wears it or what people think of it, the shoe has garnered quite the cult following. Brands like Kyoto, Nike and Vetements sell similar dupes at a fraction of the price. The dedicated anonymous instagram user @margielatab1 serves as a tribute to publicizing all archived versions of the shoe.

The acceptance of the shoe has come a long way. Back in 2009, Sarah Jessica Parker, famous for her part as Carrie in Sex and the City, wore the Tabi out in New York only to be digitally annihilated by streams of repulsed comments. From then on few celebrities have braved the public’s criticism.

Last year, actor Cody Fern wore the Tabi on the Golden Globes red carpet. Consequently, GQ claimed 2019 as the “year of the Tabi takeover”.

I decided to find out for myself the plebian perspective. Conducting an IG survey of almost 700 people 78% of people voted NO to purchasing or wearing the Tabi. Many specifically sent one word responses of disgust.

The Tabi is unapologetically ugly which is what creates its allure and captivating quality. It is for only the most confident consumer who does not care what others think. It is to turn heads and to leave an impression. While those who know its history can view it as a wonderful resurfacing of culture, to the common person the shoe still has a long way to go.

By Julia Shabshis

Streetwear is the revolution taking over major cities, designer runways and the wardrobes of influencers/well-known celebrities alike. But what is street style, and when did it become so popular? Streetstyle has been described as the comfortable clothing worn by people following skateboarding and surfing culture in California, a fashion byproduct of greater subcultural movements like hip-hop. The california-cool look has been around for over roughly 40 years, gaining the highest amount of traction in the last few seasons on designer runways. Just in 2019, we’ve seen the rise of Kim Jones at Dior Homme and Virgil Abloh at Louis Vuitton’s Men, amongst others, infusing comfy clothing into designer label collections. Hoodies, sweatpants, and sneakers printed with designer logos have become the must have pieces of each collection. Brands like Kith, a multifunctional lifestyle brand and retail establishment, have seen major success by selectively curating various designer pieces to sell at their locations that follow the streetwear aesthetic.

Throughout the past few years we’ve seen the incredible success of streetwear brands like Yeezy and Supreme. This phenomenon begs the question: how have streetwear styles managed to take over luxury labels? It’s simple: Instagram. Serving as the most important visual content platform, Instagram allows brands to adopt social media trends, discover creators, and maximize consumer viewership. Gucci, for example, has integrated social media into their brand by interacting with consumers through creative vehicles like humor. This can be seen in the brands 2017 meme campaign advertising the Le Marche des Merveilles watches, where commissioned international artists combined humorous images and texts to advertise the accessory. This sales tactic solidified the brand’s social media presence and acts as a digital artifact that would continue circulating past the campaigns completion. Under the creative direction of Alessandro Michele, the fashion house has seen a complete revamp surrounding their designs. Switching landscapes under new direction, Gucci began collaborating with several instagram-famed artists to alter the aesthetic and culture associated with the brand. A once traditional, clean-cut design house has increasingly turned towards modern street style-inspired designs that are gaining popularity with younger generations.

In a world where everyone seems to be wearing the same pieces, brands have turned towards social media and product scarcity as major marketing tools. Limited edition item releases are one way that marketers have generated hype for collections - heavily advertising the products yet simultaneously making them barely attainable. By adding exclusivity into the product’s specific culture, brands target the sense of urgency that consumers get from buying into current fads. By building off consumers’ desire for having unique, hard to attain pieces, companies significantly profit from stocking a low inventory and prolonging consumer desire for the product. This is known as drop culture, the sales tactic of releasing limited edition products or small quantity collections at specific retail locations without much in-advance warning. The products themselves are not necessarily expensive or time-intensive on the backend, yet shoppers go rogue to get their hands on these pieces. Nobody beats Supreme at capitalizing on drop culture; the label has mastered this retail strategy and is estimated to be worth over one billion dollars.

Small-scale labels are continuously popping up, fighting for a seat at the table with luxury brands in a competing world of street style fashion. The Essentials fashion capsule is an emerging player that rose to fame from their Fear of God line. The brand consists of garments touting superior pigment washes and subtle embroidered branding, all while boasting lower prices than competitors. Their oversized t-shirts, hoodies, and nylon cargo pants make up the capsule collections that have captured the attention of consumers looking for high quality street style fashion at moderate price points. In an evolving world of fashion, both small and established brands are capitalizing on the california-chic trend - but is streetwear becoming the new norm, or is it just another fashion fad?

By Lauren Ofman

Corporate jobs and internships have minimized business casual or “work wear” to a suit and tie, or slacks and a blouse, providing little room for creativity and self expression. Clothing is how we showcase our personal style and set ourselves apart from the rest of the office, so here are some ways to spice up your business casual attire to make it your own. 

1. Add a pop of color: If you look around an office, you are usually blinded by a sea of black and white. Simply introducing a pop of color to any outfit can add so much personality. Opting for a brightly colored tie, a pastel shirt or even colorful accessories like earrings and bracelets can really contribute to an otherwise mundane outfit.

2. Go fitted: Slacks do not have to be loose and unflattering. Being corporate does not mean you can’t accentuate your figure. Outfits are all about balance; pair a fitted trouser that with an oversized blouse or blazer to achieve a modest, fashionable, professional look. 

3. Add a pattern: Adding patterns to a work wear look is the perfect way to incorporate any trends from the season. Pair a plain shirt with an embroidered tie or add some cheetah print heels to liven up your day-to-day outfits. 

4. Change up the shoe: The classic office footwear is practical, but a fun shoe can add a new dimension to a look while still staying office appropriate. Pairing a loafer, sans sock with a skinny trouser creates a chic and modern look. Pairing a colorful heel or a backless loafer can also add to any dress or suit.

As a fashion and business association, GWFBA respects the modesty and professionalism of office attire, but we believe that there is always room to showcase individuality through unique fashion choices. Since fashion is a form of self expression, there really shouldn’t be rules dictating how we must present ourselves in specific environments, however that isn’t reality. We must ultimately find ways to add to our dress code to make room for our own identities to shine through. 

By Katie Coolidge

Halloween targets all people. The holiday has the unifying ability to attract any age group. When you’re young, you gain satisfaction from the candy acquired from trick-or-treating and picking out your fairy costume at Party City. As you mature, the enjoyment only intensifies. For college students, organizing an original yet provocative costume is at the forefront of everyone’s mind.

As much as people are interested in scaring each other, much of Halloween has to do with fashion. As the season approached I started to question, what did the tradition of Halloween look like hundreds of years ago? Where did it come from?

Back when it originated, Halloween was hardly embraced as widely as today. It stemmed from a Pagan Gaelic festival called Samhain. The holiday marked the pivotal time of year when the seasons changed and the alleged boundary between our world and another became thin. At this time it is foretold that we are enabled to connect with the dead.

Costumes were worn in conjunction with bonfires as a necessity in order to ward off the ghosts that crossed over from the other world. Even closer to our modern traditions, Scottish and Irish pranksters would dress up to scare their neighbors in terrifying wardrobe.

The distinct “goth” and “haunted” look has been transferred from Halloween and suffused into fashion. Some designers completely coined themselves off of their eerie, creepy collections, like Alexander Mcqueen. Mcqueen never fails to incorporate something spooky in his work, for example the 2007-2010 shows featured “the Undead Ophelia”, “Cruella de Vil” and “Extraterrestrial Bodies”. Mcqueen is not the only one to pioneer this aesthetic, Victor and Rolf, Iris Van Harpen and Rick Owens are just a few designers that draw inspiration from costume culture.

It seems that these costumes, for one night, allow people to become whoever they want; I think that’s why people love Halloween so much. But in reality, doesn’t fashion give us this opportunity to escape and be someone new every day?

Photo Credit: @kendalljenner

By Grace Demeritt

The first lady acts as a role model for women nationally, as well as globally. While her behavior and her accomplishments must be recognized first, the First Lady has always been a style icon. 

The National Museum of American History features an exhibit on the wardrobe of past First Lady’s. These dresses not only show pieces worn by past first ladies, but also mark historical moments in history. People can walk through this museum and see the dress worn by Eleanor Roosevelt during her husband’s inauguration reception or the pearl necklace worn by Abigail Adams. Not only are these looks a glance back into history, but they also represent who these women were at the time that they were living in the White House. The actions of these women will be remembered just as much as how they presented themselves. 

Jackie Kennedy will always be remembered from her elegance and modesty in her clothing, a strong reflection of how she presented herself on camera. Nancy Reagan’s fancy gowns created a lot of upheaval due to how costly they were. Michelle Obama took a more casual approach to her wardrobe, and often very colorful. Most recently, our current first lady, Milania Trump has used her style to make a statement; dressing a bit less modest then we have ever seen before and never failing to represent herself as who she is. 

As social media has grown over the course of the different presidencies, it’s no surprise that the wardrobe of the First Ladies have been scrutinized in the public eye. Barbra Bush was once berated for wearing a blue gown because her husband was a republican president. Due to her husband’s political point of view, the public thought she should only wear red. On a family trip to the Grand Canyon, Michelle Obama was ostracized for wearing shorts and bearing her legs. Hilary Clinton during her time as First Lady, was criticized for wearing pant suits, yet during her run in the 2016 election of President, her choice in pant suits were praised. 

Looking into today’s fashion, and the uprise in business casual attire, pant suits on women have not just become a trend, but have become in style in major fashion magazines. It’s clear fashion is ever changing., Some may say Hilary Clinton’s infamous pant suits lent a helping hand in the uprise of casual business attire for fashion forward women today. This leaves me thinking, if style comes from those in the public eye, why do we scrutinize our fashion icons?

Factual Information Courtesy of: Marie Claire and Dusty Old Thing

By Chris Fromm

If there is one silhouette that has dominated the footwear industry in recent years, it is the white sneaker. Every big name in footwear has their own ideration. From athletic brands like Adidas, Nike, and Reebok to designer labels like Gucci and Givenchy, it seems like everyone has created their own white kick to compete in this surging market.

In the ever-evolving world of fashion, the white sneaker has become a constant, almost acts as a neutralizer to the vibrant colors of streetwear and the experimental designs of high fashion.

With the reemergence of retro styles, we saw the return of the white sneaker in perhaps a bolder way than when it began. Adidas’s smartly timed re-release of the Stan Smith kicked off the trend. Made famous by the tennis pro himself, this iconic 70’s style quickly became one of my favorite kickaround shoes. Featuring a number of high-profile collaborations with names like Raf Simmons and Pharrell, Adidas continues to find ways to keep the sneakers fresh and relevant (even a Velcro adorned edition has managed to secure itself a spot in my closet). Other brands like Reebok and Fila have seen success with their throwback releases as well. Fila’s Disruptor II, despite its divisive look and high meme potential, brought the company a massive profit.

The simplistic idea of the colorless shoe fuels the competition to create the most desirable and stylish product within narrow confines. It is here where we see the birth of certain labels like Common Projects, who saw their rise in establishing themselves as aficionados of the monochrome shoe. Their most popular model, the Achilles, carries a hefty $400 price tag. Having personally choked down the steep price in exchange for a pair, the show checks all my boxes.

The white sneaker has undoubtedly become a staple in my wardrobe, and it should be in yours.

Now I present to you, my ultimate guide to white sneakers. With each article, I post a list of items pertaining to my experiences and opinions on the topic of discussion. This week displays some of the crispiest white sneakers in my collection. Enjoy

The Chris List

Common Projects Achilles ($411)

This is one of my favorite shoes I’ve ever owned. Unparalleled quality and everyday wearability. The Italian leather insole molds to your foot like a Birkenstock and the stylish printed serial numbers on the outside heels create an alluring “if you know, you know” effect. The real deal.

Converse Chuck Taylor 70’ ($85 →)

Playing off the surge, the new Converse 70’ is crafted with a more durable canvas and comfortable insole than the traditional Chucks. This upgraded model is the one used in collaborations with CDG, Jack Purcell, and J.W. Anderson; all of which add a little extra flare to this classic. Still one of the most solid choices when looking for a canvas shoe.

Golden Goose Superstars ($385 → )

“Why would you ever buy new shoes that look beat up?” Golden Goose enters the market to answer this question. Despite the battered look, GG shoes fit very comfortably and have quality materials you can feel. The classic base white with black star creates a fun look that can be rocked with a variety of different casual styles.

Adidas Stan Smith ($35 → )

The Stan Smith is one of the most fun white leather sneakers I own. I never feel bad about wearing them out or giving them a thrashing; their look often improves with age and wear. Now only available for resale, the Raf Simmons collab offered the shoe with upgraded materials, inscriptions, and eye catching designs. Goofy points earned if you rock the velcro versions.

Nike Blazer ($100)

Perhaps my favorite silhouette from Nike, the Blazer has come back in the past few years in high, half-cab, and low top models. Though more outfit-restricting, this is one of the few shoes I would bite on getting the hightop version of. It looks good laced up tight like a Chuck or loose-fit like a Jordan. The new vintage line comes in leather with a slightly deconstructed look, offering a white base with a few different colors of swooshes.

By Lauren Durniak

As online shopping is gaining popularity over the retail fashion industry, brick and mortar stores are forced to reimagine and redesign the shopping experience. Retailers are having difficulty maintaining their stores and historic methods. Consumers are looking for a shopping experience, not just the typical trip to the mall. Catering to the “Instagrammable” moments millennials seek out, brands are rethinking the ways customers experience their stores. 

Reformation, a clothing brand, is redefining retail and revamping the idea of a brick and mortar storefront. The brand is centered around creating sustainable, yet trendy clothing and caters to a variety of different body types. With 17 store locations and the plans to open 2 more, Reformation is beginning to expand from online retail in it’s own style. Instead of looking through stacks of messily folded clothes to end up not even finding your size, Reformation finds a way to avoid this problem. At Reformation’s Georgetown location, the sales floor is set up into several clothing racks, with one of each piece displayed. This allows the customer to view all of their options in a simple way and eliminates the search of digging for sizes. Instead of picking up and juggling multiple garments, the smart screens installed in the walls do all of the work for you. Displaying the products found on the floor, you are able to select which item you would like as well as the size and the color. Then, the piece is added to your basket. Instead of waiting in line for a fitting room juggling clothing in your hands, you are texted when your room is ready and your items are placed inside by an employee in the sizes you selected. This creates an effortless shopping experience that requires little personal interaction. In each fitting room there is another smart monitor where you can order new sizes or different items of clothing. You can go through your entire shopping experience in Reformation store almost entirely without having to interact with employees. You can get in and out easily without the pressure of employees peering over your shoulder, and the hassle of collecting your own clothing and sizes. 

This type of streamlined shopping experience mimics the ease of shopping online with the benefit of being able to see and try on clothing; a fault online shopping lacks. Reformation is one of the pioneers of this new method of in store shopping, and it seems that other stores will start to move in this direction. This hybrid shopping experience is part of the necessary evolution of the store front. Without the use of technology, the storefront loses its power to online retail. In order to keep up with the evolution of retail as a whole, stores are going to need to reinvent their in store experiences in order to create a captivating and easy experience for their customers. 

By Hana Chabinsky

We are constantly exposed to social media. Each night, before I doze off, I fall into this endless void that is the Instagram popular page--the colorful grid, flooded with workout tips, dinner recipes and endless shots of Instagram models. I can’t help but get sucked into stalking one of these girls: she has millions of followers, a perfect body, and spends her day taking selfies. You may snark at her with your friends or discredit the way she makes her living, but, in our book, she is a fashion disruptor. 

Fashion disruptor may not be the first term you would associate with an Insta Model, but these online influencers are changing the way brands and companies market their products. Regardless of their size or what they are selling, it would be ignorant for brands to ignore the power of social media. 

These influencers, who amass as many followers as Hollywood celebrities, offer something much more prized: personability. The success of social media influencers comes from the relationships they have with their followers. They share their lives like it’s their job (because, it is). Followers feel connected and become invested in the lives of their favorite influencers. Constant interaction allows for a more personable relationship than a typical movie star could ever have with their fans. 

This loyalty and pure adoration for a celebrity-like-figure is a gold mind for brands looking to enter the Gen Z market. Brands of all scopes and sizes reach out to influencers to promote their products, from small-scale boutiques to luxury fashion labels like Louis Vuitton and Dolce & Gabbana. 

Why?

Because these brands know that once they develop a relationship with these influencers, they’ve captured their following as well. 

For the past two years, Louis Vuitton has invited 18-year-old Youtube sensation Emma Chamberlain to Paris Fashion Week. Normally seen wearing high-waisted mom jeans and an Urban Outfitters t-shirt, the Louis Vuitton team dressed her for the show and collaborated with her to create a promotional video for their Youtube channel. The video has over a million hits; it is flooded with comments from Emma’s fans supporting their favorite influencer’s luxe adventure. Louis Vuitton is changing the way that the luxury brand is perceived by young people, a market once disregarded and seen as insignificant. 

So I ask myself, do brands like Louis Vuitton lose their credibility once they become “too” accessible?”, or, are brands like Louis Vuitton at the forefront of the marketing game, a true game changer and industry  disruptor in their own sense? This is something only time will tell.

By Julia Shabshis

Sleek ensembles, lavish accessories, and endless pairs of Manolo Blahnik’s come to mind when envisioning the fashion in the infamous, Sex and the City. From Carrie’s flirty dresses to Miranda’s working-woman chic pantsuits, the show was able to capture varying aspects of the trend taking the world by storm: feminine fashion. While each character embodies their own personal style, trends like head-to-toe monochrome, form fitting waistlines, and frilly skirts were in high supply. 

Carrie Bradshaw, the shows beloved protagonist, went through several major breakups throughout her years living in New York. Naturally, these breakups often required major retail therapy at the three B’s - Bergdorf Goodman’s, Barneys, and Bloomingdales. Often opting for designer dresses and copious pairs of high heels, Bradshaw’s style is the ultimate depiction of femininity and power. In a sea of New Yorkers wearing black, she continuously stands out in all sorts of flamboyant shades and designs. The show started filming in 1998, and Carrie’s style very often reflects iconic nineties fashion. Mesh tops, shift dresses, and flirty floral prints are just a few examples of the recycled items that have been brought back from Carrie’s wardrobe in 2019. 

Charlotte York, princess of the Upper East Side, frequents classic pieces that stand the test of time. Her tailored wrap dresses and coordinated suits emphasize femininity while remaining true to her prim personality. Throughout the course of the show, Charlotte sports several iconic looks after monumental stages in her life. After mourning a miscarriage, the posh princess garnered strength by stepping out in a pink strapless dress inspired by her icon, Elizabeth Taylor. When visiting a jewelry store to (potentially) alter her engagement ring into something a bit less sentimental, Charlotte sports a strapless checkered printed dress that fuses power with poise. Tailored dresses and elegant heels will always remain in style, designating Charlotte as an icon of timeless fashion.  

Samantha Jones was arguably one of the most impactful characters on Sex and the City. Often referred to as a feminist icon, she steered clear of societal guidelines and embraced her sensual nature. As a powerful publicist in New York, Samantha’s daily outfits often consisted of trendy pantsuits, elongated trench coats, and designer handbags. For her nights out on the town, she often opted for fitted silhouettes and low cut tops. While her day and night looks varied, they both underscored her confidence and flirtatious character. 

Miranda Hobbes, the show’s final leading lady, is a career-minded lawyer in New York. Her no-frills approach to style is often forgotten about when positioned alongside the sparkly dresses and baguette bags sported by her co-stars. While idolizing Carrie Bradshaw, fans failed to appreciate Miranda’s embodiment of a new generation of career oriented women. Her tailored suits and classic tea length dresses accentuated her lean figure while simultaneously representing the new wave of work-ready styles on the market. The suit trend has been extremely popular amongst celebrities and working women alike, especially as a vehicle for sporting monochromatic looks on a daily basis. If you’re in the mood to recreate one of Miranda’s iconic looks, check out the sea of pantsuits available at Zara.

Taking a note from Sex and the City, eclectic patterns and statement jackets were seen all over the runway this season. Alexander McQueen’s daring black leather trench coat would have been perfect for Samantha, Chanel’s iconic houndstooth printed coat screamed Charlotte and Miranda, and the plethora of bright faux fur coats would have put Carrie in a trance. While each character in the show has a unique style, they collectively contribute endless inspiration for feminine outfits that are still on trend today; just pick a character, get inspired, and start shopping. 

By Nathalie Campbell

A while back, my mom and I were rummaging through vintage accessories in  her closet. She pulled out a black Fendi mini bag--metallic, beaded, stripes--with the typical, silver, Fendi-logo clasp. She held it up and said “do you want this?! It’s cute!” I looked at in horror while channeling my inner Regina George-- “No thanks! That is the ugliest bag I’ve ever seen in my life!” I could not see how that odd-shaped little bag would ever possibly fit my style or my wardrobe. Fast forward to a few months later, I’m back at school, and my opinion has entirely shifted. 

The baguette is back and in a big way. 

The Fendi Baguette was one of the “it” bags from the ‘90s. For those who are unfamilliar with that era, the baguette was a fashion staple on the TV series, Sex and the City. Patricia Field, the show’s infamous stylist, revolutionized the bag by incorporating it with Carrie, the show’s lead character and styling it differently with so many quintessential looks throughout the series.

Now on the cusp of 2020, Fendi has resurrected the iconic baguette. During this past New York Fashion week, Fendi launched an ad campaign called #BaguetteFriendsForever--revitalizing the classic mini bag--including new styles and even offering a cross-body option. Still the vintage look remains on trend. 

Fendi is not an isolated example of this throwback phenomenon. Why has there been a resurgence in such an iconic 90’s staple? Because ‘90s fashion overall has made a definite comeback.  Throughout New York Fashion Week, many collections thematically paid homage to era down to the models’ hair and makeup. Other trends have emerged that share the same 90’s-inspired style. The ongoing minimalist streetwear trend has shown an influx of bucket hats, belt bags, bell-bottoms and the like, all of which were big 90’s staples.  

So the next time you decide to toss your mom’s dated bags, hats, or even shoulder pads, think twice, because sooner or later it will be the next big designer trend. Just ask my mom who told my grandmother in the 90’s that those Chanel bags with the gold chains and double CCs were “way too old lady looking!”

By Aaron Mancus

As fashion weeks around the world commence with their usual grandeur and exploratory nature, celebrities and fashion critics flock to the corners of the world to find this year’s latest trends and fashion forward ideas. From Paris to Milan, and New York to London, designers analyze and represent the coming trends of 2020. An unexpected, and often underrated Fashion Week takes place in Washington, DC each year showcasing up-and-coming designers in the DMV area. As fashion shows push the boundaries of art and fashion each year, DC fashion week will continue to be a part of fashion culture. Some of the most stand out designers are featured below. 

Inspiring and empowering women with simple modern luxury is the foundation of ABLE: a brand that designs for women who want to stand out. “The clothing is designed to be daring and different while emphasizing and flattering the figure of real women, no matter her size or shape.” ABLE is a contemporary womenswear brand that designs clothing with the female body in mind, and emphasizes that the average woman should feel not only comfortable in her clothes, but sophisticated, sexy, and fashionable. Head designer, Amanda Campbell, began sewing and designing clothes in middle school and into college when she studied Fashion Design at Virginia Commonwealth University. She believes in strong, capable, and empowered women, and portrays these ideals in her runway looks. 

Another inspiring and daring designer from the DC area was actually a technically trainer Master hair stylist with over 20 years of experience in the beauty industry. Erika Evans, the head designer of EJE INTL Designs, creates avant-garde and inspiring accessories for the fearless and audacious woman. Elaborate leather face adornments, bedazzled gas masks, and chunky jewelry are some of her most notable pieces. Her work has been photographed worldwide and is truly  a spectacle to see. Erika wants to inspire those who wear her pieces to feel confident no matter how bold their look may be. 

Roots by Bella is another unexpectedly daring brand from the DMV. Bella Ianotti is the founder and designer of Roots by Bella. Originally from Brazil, Bella moved to the USA to learn about a new culture and become part of a new society. Through her years of travelling to places like Hong Kong, Japan, China, Israel, France, and many other countries, she has acquired a wide knowledge of cultures and identities which can be seen in her eccentric designs. Bella has been in the fashion world creating her leather and jewelry designs for many years.  She is currently a student at the Gemological Institute of America (GIA) where she is learning how to expand her brand into gemstones and fine jewelry design. As a mother of two, Bella is busy balancing her home life and creating beautiful designs for women around the world to indulge in. Her style is bold and not limited to plain-textured leathers and fabrics. She puts care into each piece, and finds a balance between the strange and unusual, and the more standard and filtered version of fashion we often see on the street. 

DC Fashion Week 2019 was filled was up and coming designers as well as some already established brands. Although largely unknown, these small brands have been making an impact on the fashion community and will continue to push the boundaries of fashion, regardless of where their latest show took place. Designers from the DMV will often show their looks in New York, Australia, London, etc. but  still manage to get models casted and looks done for a show in their hometown. DC Fashion Week is a necessity for the fashion forward businessmen and women who flock to this city from all over the world, and encourages people to escape the mundane business slacks and try on some new clothes. 

BY Alexandra Lange

From it’s quaint exterior, you would never believe the beauty and extravagance hidden within Curio Concept Store. Positioned right off of Georgetown’s famed M Street, Curio Concept Store is filled with some of the most unique, artistic, and whimsical pieces of clothing you have ever seen.

Innovator, and absolute girl boss, Lena Farouki, opened Curio Concept Store with the intent of bringing something completely new to the area. After visiting renowned concepts stores in other major cities, like Colette in Paris, Lena felt that D.C. would benefit from something like like that. She loved the idea of the concept store; to her, a concept store allows shoppers to see a piece of the curator’s mind. Lena opened up the store in 2012 and has clientele from all over the world.

Upon entering the store, shoppers are instantly hit with Lena’s playful and artistic vision.

The boutique is decorated with cheeky art, eye catching wallpaper, and of course, the fabulous clothes. Dainty tea sets, provocative jewelry, and pastel handbags completely liven up the space. Lena emphasizes that Curio is not about following trends, it is about representing her style and bringing interesting pieces to her clients.

M street is filled with big commercial stores like Forever 21, J. Crew, and Nike. While those stores provide cheaper, faster, and trendier pieces, their styles quickly become oversaturated on campus. Next time you’re in Georgetown, take a right on Thomas Jefferson street, walk into Curio Concept Store and I promise you will be inspired.

By Hana Chabinsky

Maison Margiela’s 2019 Ready-to-Wear collection featured garments stripped down to their core. Staying true to the edgy aesthetic of the Maison, there was no shortage of manipulated, deconstructed, and exaggerated pieces. The models, like the clothing, looked very raw, sporting little makeup and sleek hair. Many of the female models had shaved heads, while the male models proudly wore long skirts and shift dresses with mary jane flats. Vice writer, Steve Salter states that designer John Galliano “pushed-possibilities, blurred-boundaries and swept the dust from this atelier-powered artform.”

Galliano’s stripped down collection defies gender norms and competes with the binary. Women sporting oversized, boxy garments and men modeling pant suits with a cinched waist creates tension with today’s social and gender norms. Galliano claims this collection was partially inspired by the new Gen X and Y consumers who will make up 45% of luxury buyers by 2025. This generation, who is more accepting of gender and sexual fluidity than the baby boomer generation, proves welcoming to Galliano’s androgynous collection.

You can be sure to see androgynous and gender defying fashion at almost any industry event.  Billy Porter wearing a Christian Siriano Tuxedo dress to the Oscars, Ezra Miller rocking a bold lip at the 2019 Saint Laurent Fashion Show, or Cody Fern and Judy Greer at the Golden Globes, are all clear examples of fashion disruptors. As celebrities and their designers pave the way for a new era of non-binary fashion, they set a precedent for nonconformity and explorative expression.