MIUSE: ISSUE 1

ISSUE 1 S/S 2020
MIUSE
Miuse Magazine offers an UNCONVENTIONAL VOICE in the
FASHION INDUSTRY. Each issue of this biannual publication caters to audiences whose
interests EXCEED the TRADITIONAL FASHION SYSTEM, shedding light on SUSTAINABILITY
INITIATIVES and INSPIRES conscious audiences to make ethical choices. Miuse looks
communicate and to REDEFINE what LUXURY FASHION IS.

The First Issue
Page 2
MIUSE
ISSUE 1
S/S
2020
Miuse Magazine has taken all reasonable efforts to trace the copyright owners of all works and
images and obtain permissions for the works and images reporoduced in this magazine. In the
event that any of the untraceable copyright owners come forward after publication, Miuse Magazine
will endeavour to rectigy the position accordingly.
All rights reserved. Reproduction in whole or in part without written permission is strictly prohibited.
The entirety of this magazine is protexted by copyright and may not be reproduced without written
consent from the publisher.
Cover Model wears GRETA BOLDINI Dress, and ORTAEA Maji Ring £12,750.00.

The First Issue CONTENTS
Page 3
Page 1:
INTRODUCTION
About Miuse
Page 2:
CONTENTS
Miuse Contents Page
Page 5:
EDITOR’S LETTER
Editor’s Letter
Page 7:
EDITOR’S SELECTION
Editor’s Selection
Page 9:
THE SUSTAINABILITY SECTION
Fashion Industry & Changing
The Sustainability Landscape
P.21 P.37
P.51
P.65
Page 15:
THE SUSTAINABILITY SECTION
The Rise Of Fashion Rental Platforms
Page 17:
THE SUSTAINABILITY SECTION
The Impact Of Covid-19 On Sustainability
Page 19:
THE SUSTAINABILITY SECTION
How To Shop Responsibly
Page 33:
THE MIUSE INTERVIEWS
Interview With Founder & Creative
Director Of LA COLLECTION.
Page 45:
THE MIUSE INTERVIEWS
Woman On Top: Aylin Koenig On Her Brand,
By Aylin Koenig
Page 49:
THE MIUSE INTERVIEWS
The Woman Reviving Vintage Sportswear:
Interview With Emily Oberg
P.82
P.99
P.108

The First Issue CONTENTS
Page 4
P.121 P.129
P.143
Page 59:
THE MIUSE INTERVIEWS
Get To Know The Woman
Behind Birgitte Herskind
Page 61:
THE MIUSE INTERVIEWS
The Ethical & Sustainable Jewellery
Brand You Need To Know
Page 77:
THE MIUSE INTERVIEWS
Interview With Trine Tuxen,
Founder Of Her Epononymous Brand
P.153
P.174
Page 79:
THE FASHION SECTION
How Luxury Fashion Won By Blending
High & Low Culture
Page 95:
THE FASHION SECTION
5 Danish Brands To Shop
Page 97:
THE FASHION SECTION
Dior: White Feminism Sells
Page 104:
THE FASHION SECTION
Self Reflection: Women In Fashion
P.183
Page 139:
POLITICS & ACTIVISM
Does Fashion Still Hold A
Meaningful Role In Activism?
Page 151:
WORLD CURRENT AFFAIRS
Fashion’s Response To Covid-19
Page 171:
WORLD CURRENT AFFAIRS
Art At The Backdrop Of Global Crisis
Page 181:
THE DIGITAL WORLD
In Support Of The Anti It-Girl
Page 107:
THE FASHION SECTION
Scandi Style Is The New Parisian Chic
Page 119:
THE FASHION SECTION
50 Years Of Kenzo
Page 127:
POLITICS & ACTIVISM
Fashion & Politics:
Making A Statement
Page 137:
POLITICS & ACTIVISM
A Bold Statement: Fashion’s
Relationship With Politics

The First Issue EDITOR’S LETTER
Page 5
EDITOR’S
LETTER
The first issue of Miuse Magazine focuses on embracing
the change we hope to see in fashion. We cater to
audiences whose interests exceed the traditional fashion
system and strive to publish creative work that reflects
this, as well as exclusive interviews articles showcasing
the finest talents in the industry. In this issue, you’ll get
to know more about Sporty & Rich’s founder Emily
Oberg in an exclusive interview with the athleisure
designer, as well as reading about how Trine Tuxen
began her eponymous jewellery label back in 2012.
Inside our first issue, you will find articles on a variety of
different topics, which we hope you enjoy reading
from anywhere across the globe. Read articles on how
sustainability is affecting the luxury fashion industry, how
to shop more responsibly during a time when consumers
hold majority spending power, as well as how luxury
fashion has changed from exclusivity to accessibility. We
aim to shed light on sustainability initiatives and inspire
conscious individuals to make more ethical choices
when it comes to fashion, and so in this issue, you will
find tips to help you shop more responsibly this year.
If you’re reading this, that means you’ve been able to
get your hands on our first ever issue of Miuse. Whether
you’re reading this from your phone or holding a copy
in your hands, the Miuse team wants to thank you for
choosing us. We want to thank all our contributors. We
want to thank all the photographers and creatives that
chose to publish in our first issue and align themselves
with Miuse. These last few months, I have spent a
copious amount of time compiling a magazine from
my home, finding inspiration and trying to nourish
my creativity during a time of uncertainty from the
Covid-19 pandemic. On the next page, you can see a
moodboard I compiled during our Miuse journey that
was meant to showcase our visual identity and imagery
styles, and so I thought it would be insightful to share.
Please enjoy this first issue of Miuse, and I hope
you to see you next time for Miuse Issue 2.
Erika Hanson

The First Issue
EDITOR’S LETTER
Page 6
FROM LEFT TO RIGHT: Apollo 11 Flown Checklist, Celine Resort 2018 Collection, Kleine Landschaft (1965), Agustina
Bottoni, Helena Rubinstein (1940), Cartier Diamond Emerald Sapphire Rubies Jewelry (1964), Kayl Parker Still Life with Confetti
(2013), Slim Aarons (August 1976), Liu Wen for T Magazine China (September 2018), Bottega Veneta Pre-Fall 2019, Jil Sander
Pre-Fall 2020, Speak Italian: The Fine Art of the Gesture, M Le magazine du Monde S/S 2019, The Row Pre-Fall 2020,
LOEWE Fall Winter 2017 Campaign, Bottega Veneta Spring 2020, Nastassia Nina Brückin, Iringo Demeter.

The First Issue EDITOR’S SELECTION
Page 7
Photo: Louise Dahl-Wolfe
EDITOR’S
SELECTION

The First Issue EDITOR’S SELECTION
Page 8
Though SUMMER 2020 may very well be cancelled this year,
we can still ALWAYS count on FASHION to make up for the loss. My
SELECTION OF PIECES for this SUMMER includes a variety of pieces
from various MAJOR-DESIGNERS of the moment.
All Blues 18kt Gold double
necklace, £490
The Row Half Moon
shoulder bag, £1784
1 2 3
Christopher Esber wire back
cut-out top, £388
Zimmerman Super
Eight mini skirt, £470
4
Marni chunky laceup
sneakers, £490
5
6 7
Jacquemus
cropped ribbed
knit top, £353
The Row Brona wide-leg
trousers, £2140
9
10
Joanna Laura Constantine
earrings, £205
Bottega Veneta padded Marie
bag, £3460
8
ATP Atelier 50 sandals,
£235
These TIMELESS pieces are ALL YOU NEED in your wardrobe
this summer. Whether your SUMMER THIS YEAR is spent in the HEART
OF THE CITY or BY THE COAST, these pieces can be worn on the
HOTTEST DAYS or on those SLIGHTLY COOLER DAYS.

The Sustainability Section
THE EFFECT
OF THE
LUXURY
FASHION
INDUSTRY
AND
HOW IT’S
CHANGING THE
SUSTAINABILITY
LANDSCAPE
Author: Bethany Crowley
ULTIMATELY, IT IS THE LUXURY INDUSTRY OF
WHICH PROPELS THE INDUSTRY OF FASHION. WITH A LARGE
PERCENTAGE OF SALES BEING GENERATED BY THE LUXURY
SECTOR, IT IS LUXURY FASHION BRANDS THAT ARE QUITE
LITERALLY PAVING THE WAY FOR OTHERS. THEREFORE, IT IS
APPARENT AND NO SURPRISE THAT THE LUXURY INDUSTRY
ACTS AS A CATALYST FOR THE REST OF THE INDUSTRY,
PARTICULARLY HAVING A TREMENDOUS EFFECT WHEN IT
COMES TO FACTORS SUCH AS SUSTAINABILITY.
Continued on Page 13...
Photo by Christophe
Archambault / AFP/
Getty Images

IN A SWITCHED-UP W
ETHICALLY SOURCED
NO LONGER IS THE I
LUXURY JUST AN IND
CRAFTSMANSHIP AN
ISN’T ENOUGH ANYM
THE ATTENTION TO
THE CONSUMER BET
BEING THAT IT WAS

DEA OF
ULGENCE IN
D QUALITY – THIS
ORE; IT IS STILL
DETAIL, ALTHOUGH
AY THAT SUITS
TER – THE DETAIL
SUSTAINABLY AND
AND PRODUCED.

The Sustainability Section
N o 1
Page 13
Luxury fashion does take the reins and certainly has the upper-hand
when it comes to production for longevity, in contrast to the reckless
industry of fast-fashion of which consists of a much more disposable
attitude along with a quick and presto lifespan. I mean, it is certainly
not to say that luxury fashion is all that sustainable – far from it, many
luxury brands still have a long way to go when it comes to prioritising
sustainability. However, the easy answer is yes luxury fashion is
superior to fast-fashion in the sense that the items are produced for
long-term use and are not just throw-away pieces – better to have a
slower and less consumption of clothes. Obviously, luxury pieces are
of a certain quality and hold a heavy price-tag - therefore, consumers
are cautious, and luxury is viewed as more of an investment.
As stated by Business Of Fashion it is Millennials and Generation
Z who will make up 45 percent of the luxury market by 2025.
Consequently, designers are attempting to keep up with the demands
of these generational brackets – social media and the online world
are becoming especially more crucial. Along with this, the luxury
fashion industry is really beginning to feel the effect of the shift in
consumerism – with renowned political movements such as The
Extinction Rebellion along with vast media coverage, consumers are
becoming increasingly more knowledgeable and aware in regards to
the negative environmental impact that fashion has. Subsequently,
it is the consumers who are desiring absolute transparency within
supply chains and are advocating for more sustainable approaches.
No longer is the idea of luxury just an indulgence in craftsmanship
and quality – this isn’t enough anymore; it is still the attention to detail
although in a switched-up way that suits the consumer better. The
detail is that it was sustainably and ethically sourced and produced.
Luxury fashion is evolving into more so how the purchase makes the
buyer feel; if it was consciously produced then they perhaps feel a
sense of satisfaction and are contented. This of course also increases
the chance of repeat custom had it inclined these feelings and
emotions. These luxury brands paying attention to what consumers
needs are adapting to are the ones doing well, on the other hand, the
others that are yet to catch on will not succeed in the long term.
Taking an insight into what Luxury fashion is doing to combat
sustainability: how they are adopting new sustainable strategies to
comply with customer demands – of which the industry and quite
frankly the earth necessitates so strongly. In 2019 groundbreaking
news was that several luxury brands, amongst them: Chanel, Stella
McCartney, Prada, and Ralph Lauren signed ‘The Fashion Pact’ -
which promises and pledges to address issues of greenhouse gases
and global warming; as well as restore the planet’s biodiversity and
reduce the rash disposing of plastics in the world’s oceans.
“Subsequently,
it is the
consumers
who are
desiring absolute
transparency
within supply chains
and are
advocating
for more
sustainable
approaches.”

Author: Bethany Crowley
Page 14
This was a historical moment and is an incredibly
positive step forward in changing things for the better.
According to The Guardian without these measures, it
is true in saying that the industry could be responsible
for a quarter of the world’s carbon emissions by 2050
– a scary statistic to say the least.
Further sustainability stances from the luxury market
consist of:
Innovative Approaches: Luxury brands are taking to
innovation in order to change their strategies as well
as enhance how sustainable they are as a brand. New
methodology is being considered, such as utilising food
waste to ultimately produce new materials for their
collections. Stella McCartney for instance partnered
with Bolt Threads to employ environmentally friendly,
innovative materials – Mylo is a vegan leather alternative
produced from mushrooms in a sustainable and ethical
manner. McCartney made use of this specific fabric for
the famous ‘Falabella’ handbag of which was exhibited
at the V&A, London back in 2018. Others have even
gone as far as rejuvenating plastic bottles into new
materials for garments. It is fair to say that the luxury
industry is beginning to exploit innovation when it
comes to new perspectives in materials that fit the brief
of sustainability.
Campaigns: Stella McCartney’s Summer 2020
campaign mentions that this collection is their most
sustainable yet, the campaign has a vast focus on
sustainability and clearly demonstrates that this is the
company’s main focal point – attracting all of those
Millennials and Gen Zs out there – this is exactly what
they want. Vivienne Westwood also put out a strong
and impactful Spring/Summer 2020 campaign with
an integral focus on the changes that need to occur –
striking posters are seen being held by models stating
that consumers should ‘BUY LESS, DRESS UP’ the
backdrop has a somewhat apocalyptic atmosphere
and theme, clearly demonstrating a vigorous and
forceful message to consumers. Luxury brands that
are strengthening their campaigns, aiming to connote
sustainability are the ones truly making changes within
the industry; since marketing and campaigns are really
what get the messages as well as ideologies out there
to consumers in today’s market.
Visibility: ‘Browns’ is an online luxury fashion retailer in
the UK, as of recently they have added a very visible
category to their website labelled ‘conscious’ the edit
showcases various sustainably produced items from
well-known luxury designers, varying from the likes of
Stella McCartney to Marine Serre. Many online retailers,
as well as luxury designers, are starting to catch on to
the relevance of clearly representing sustainability – it
needs to be there as soon as the consumer views the
website. Visibility of sustainability is key and crucial
in today’s industry. Luxury brands are also coming
through via delivering strong marketing schemes on
social media – an additional necessity to getting the
word out there to purchasers.
Hierarchy & Impact: It’s pretty self-explanatory to say
that the luxury industry is at the top of the fashion
hierarchy and so with them representing positive
change towards sustainability this is encouraging other
sectors of the industry to also get on board – the
luxury industry as a whole seems to be enhancing and
changing the sustainability landscape, for the better
really. Although ultimately it is us as the consumers who
have the authority and the whole world in our hands
actually (let’s be honest) – we have the potential to
fully commit to sustainability via our shopping habits,
ditch the vicious cycle of fast-fashion and venture
beyond the horizon a bit more, it’ll be so worth it –
psychologically as well as literally.
So, all in all, I am sure you can see from this article
that there is a lot going on as well as a long way to go;
sustainability is the future though, I mean it has to be.
We don’t really have a choice in the matter – (climate
change and that) all I can say is that it will be the luxury
market that leads the ultimate change and shifts within
the fashion industry in terms of sustainability, that is
along with us as the consumers – remember it’s us who
technically holds the upper hand. We should jump on
the bandwagon, though shouldn’t we all be? Boycott
the brands who are ignorant of the fundamentals of
sustainability – they are not worth your time and there
really is no point in investing in a brand who is careless
to the importance of sustainability. So, do your research
before you purchase, ensuring that sustainability is a key
factor of the brand’s ethos and continue to support the
ever-changing industry of (sustainable) luxury fashion.

The Sustainability Section Page 15
N o 1
Photo: Tatler Thailand
PROMOTING
FASHION’S CIRCULAR
ECONOMY:
The Rise of Fashion Rental Platforms.
TODAY’S industry is not SUITABLE for the CLIMATE
CRISIS, in fact, you may have heard that FASHION is now the SECOND
MOST POLLUTING INDUSTRY in TODAY’S GLOBAL ECONOMY,
therefore, the industry is in real NEED OF CHANGE.

Author: Bethany Crowley Page 16
Generically, the industry is based on a linear model
in which clothing is just neglected and thrown away
when no longer desired – clothes are viewed as
dispensable and the vast majority end up in landfill
or are incinerated. Circular fashion is an example of
an economic system where waste and pollution are
excluded; with materials and garments being kept
going for as long as possible via the basis of renting,
repairing, re-selling, swapping, re-using, re-generating,
recycling or even re-designing. According to Stella
McCartney, (a luxury fashion designer who strongly
advocates for a more sustainable industry) “The
Future of Fashion Is Circular, It Has to be.” Designers
like McCartney who are enabling and supporting this
new ecosystem are the ones really making a difference
within the industry, alongside the consumers who are
actively supporting it.
Many consumers are really starting to jump on the
idea of renting clothing – of which is a characteristic
of the concept of circular fashion – it’s really beginning
to see a rise in popularity – enhanced through social
media, the notion is growing and rising up amongst
consumers who are searching for ways to be more
conscious in their shopping traits and habits. The
rental market is now able to supply consumers with a
substantial variety of clothes all the while reducing the
regard for newly produced garments. No longer is it that
rental models are only out to provide for your special
occasions as in weddings, job interviews or other
formal events; it has evolved into something much
more – targeting the customer who wants every-day
wear as well as special occasion attire. It has expanded
and become so extensive that it is far more appealing
to the conscious consumer in today’s industry.
The prestigious US company Rent-The-Runway
founded back in 2009 really seems to pave the way
for rental fashion, offering a monthly membership from
as little as $69 (£55), exhibiting a large array of clothing
courtesy of many sectors from the industry. Increasing
in popularity since 2009 Jennifer Hyman and Jennifer
Fleiss who studied at Harvard Business School together
set out to establish a much more sustainable approach
to fashion in which women could switch up their
wardrobe on a regular basis without enhancing the
negative effects of linear fashion. And the enterprise
has just continued to advance; as stated by Business
Of Fashion (2020) Rent-The Runway has “acquired
over 10 million members and raised more funding than
any other female-led venture-backed business in the
United States.”This is only one example of the surge
in demand for online rental platforms, there are many
other rental clothing websites of which are based in the
UK such as Our Closet, My Wardrobe HQ, Girl Meets
Dress and Frontrow. The idea of renting clothes strongly
ties in with the scheme of a circular fashion economy.
Promoting it through reducing waste and resources,
as well as limiting the amount of pollution being
produced - improving the state of both the industry
and environment. In some cases, it’s the consumers
who are beginning to contribute to the escalation of
change in terms of desiring more sustainable outlooks
and approaches, such as rental platforms. This stems
from the increased awareness surrounding climate
change being induced via social media, campaigns,
political movements etc. Along with the knowledge
being sprawled on how fashion has a responsibility
to play and the industry is partially to blame for the
diminishing of the earth’s well-being. Accompanying
all of this, customers are starting to wake up and
therefore, opting for much less consumption, holding
a desire for more conscious ways of shopping –
again, rental platforms often being one of them.
A circular economy is actually what the fashion
industry needs – one in which little to no resources are
required and waste and pollution are cut out, of course,
it is imperative that both designers and consumers are
truly aware that the industry must continue to shift
towards a more sustainable future, and they need
to be a part of it. According to SustainYourStyle “A
family in the western world throws away an average
of 30 kg of clothing each year. Only 15% is recycled
or donated, and the rest goes directly to the landfill
or is incinerated.” This goes to show that there is still
a long way to go when it comes to educating and
notifying consumers about wastage and how truly
toxic it is – incineration of clothing lets out unhealthy
amounts of CO2 into the earth’s atmosphere as well
as microplastics from synthetics, as I’m sure you
can guess - all of this is highly harmful to the earth
along with its inhabitants. Yes, some consumers are
jumping on the idea of sustainable fashion but there
is still a long way to go to get everyone educated
and onboard regarding the sustainability landscape.
So, personally, when you no longer require an item of
clothing in your wardrobe it’s important to slow down
and think about how you can support circular fashion
and work towards shifting the industry for the better
– can you: re-sell it, recycle it or rejuvenate it into
something new? It’s about shifting our perception to
a much more sustainable conception of fashion – let’s
prune back our waste and start being more thoughtful
when it comes to our shopping habits. Why not invest
in a subscription to a rental platform if you have a
regular urge to purchase something new? Or buy
something second hand – there are so many positive
ways to contribute to the eco-system of circular
fashion. Plus, it’s fully crucial and necessary that we as
the consumers adopt these new ways of shopping and
view fashion in a more sustainable, ethical manner –
it’s our responsibility to protect where we live, after all.

The Sustainability Section
N o 1
Page 17
THE IMPACT
OF COVID-19 ON
SUSTAINABILITY
IN THE FASHION
INDUSTRY
Photo: Vittorio Zunino Celotto/Getty Images

Author: Isabel Martins Abbud
Page 18
Just a FEW short months ago, it seemed like the world was ENVELOPED in the ISSUE
OF CLIMATE CHANGE and how to be more SUSTAINABLE. Now, another topic has taken
hold of the EARTH’S COLLECTIVE CONSCIOUSNESS - the COVID-19 PANDEMIC. From
ONE TRENDING TOPIC to ANOTHER, the virus seems to have MORE in common with climate
change than simply being the words on EVERYONE’S LIPS. The pandemic has FORCED the
world to screech to a halt - AND WITH IT THE FASHION WORLD.
Ultimately, Covid-19 will have a long-lasting
effect on sustainability in the fashion world. It has
exposed how unsustainable the industry can be
and has forced it to focus more on sustainability to
survive and succeed in the current global climate.
Firstly, there is the issue of ‘fast fashion’. This includes
the use of cheap, toxic textiles which negatively
impact the environment, and is highly exploitative
of garment workers. Covid-19 has shown just how
unsustainable ‘fast fashion’ truly is, as an estimated of
50 million garment workers were negatively impacted
after many factories were forced to shut down in Asia,
along with the cancellation of orders and shipments.
Currently, the industry employs 4.2 million people in
Bangladesh, 1.8 million people in India and 280,000
people in Sri Lanka. With fewer orders as shops are
closed and the ‘new outfit’ loses its appeal, these
garment workers have found themselves jobless.
In India, garment workers make an average of
9,000-10,000 rupees (£98-109) a month, and in
Bangladesh, it’s £77 a month, which is half of a living
wage. Now, Covid-19 exposes the unsustainability of
this average wage, as well as the already impoverished
conditions these garment workers operate in, and
companies will have to start making contingency
plans to help their workers during times like these.
This includes paying and treating their employees more
ethically rather than profiting from their low wages. An
example of this social consciousness has emerged through
Remake, a non-profit charity calling to end ‘fast fashion’.
The company launched a PayUp petition,
calling on popular and large brands to pay
over £2.4 billion to garment factories across
Bangladesh, India, Myanmar and Cambodia.
Secondly, with Fashion events being cancelled
worldwide, the industry has had to rethink how
gatherings will be held. Perhaps we will see the
emergence of virtual fashion events. Or we will see less
of these, and will the fashion industry be limited to only
the “Big Four” fashion weeks a year (New York, Milan,
London and Paris) rather than the few hundred that
currently take place? Additionally, Fashion Weeks are
something that has received plenty of criticism in terms of
sustainability over in 2018, due to the amount of air travel
they require. Plus, we have seen Tokyo, Shanghai and
Moscow take a greener approach to their Fashion Weeks
- as they have/will live stream them digitally this year.
Thirdly, the industry will have to modify how they deal
with build-up stock/deadstock. A famous incident of
this occurred in 2017 when Burberry faced backlash and
controversy after burning and destroying deadstock.
Now, with the increasing need for protective gear for
frontline health workers and non-medical masks,
this offers an opportunity to salvage deadstock - by
modifying it into masks, gowns and ultimately all
of the much needed protective gear for Covid-19.
Covid-19 will impact the state of the fashion industry as
we know it, and we hope that brand’s and designer’s
take this time to consciously reflect during this
pandemic. It’s still not too late.

N o 1
The Sustainability Section Page 19
HOW TO SHOP
RESPONSIBLY
Author: Marta Eireos
According to the UN, the textile industry is the
second most polluting in the world. This is because
the ongoing fashion manufacturing model causes an
irrecoverable impact on the environment due to its
massive production. Against this, a more committed
fashion emerges, becoming omnipresent both on
the catwalk and in our wardrobes. There has been a
growing change of mentality, first slow-paced but now,
unstoppable: The client not only looks at the aesthetic
part of the garments but goes beyond that. Costumers
also require knowledge about how and where the
clothes were made in order to make a final purchase.
With this sustainable movement in full swing, more
and more companies are relying on environmentally
friendly production models. Conscious clothing is
so much more than a short-lived tendency: The socalled
“slow fashion” is responsible, consistent with
our planet and transparent with labour, fabrics and
transport from the production location to the point
of sale. Similarly, renowned luxury brands such as
Chanel or Versace have renounced the use of animal
skins. On the other hand, the versatile designer Stella
McCartney has gone one step further and has bet on
synthetic fabrics. The big low-cost chains have also
wanted to do their bit: Zara has created its ecological
collection Join Life while ASOS has launched its first
line of sustainable jeans. The fashion business no
longer operates with a merely aesthetic objective, to
achieve the highest economic benefit regardless of
the ecological footprint. What is behind every single
piece matters more and more every day. It seems that
responsibly consumption is here to stay. So, how can
we help to create the fashion of tomorrow?
Bet On Vintage Style
Steal clothes from your mother’s dresser
or visit second-hand shops. There, you
can find beautiful pieces that fit both the
current trends and your budget, but are
different enough to stand out from the
crowd. You’ll discover the joy of giving
garments a second life.
Pay Attention To The Label
Ask yourself this series of questions before
making a purchase: Where and how was it
manufactured? How was the labour force
treated? This way, you will find out in what
manner the piece has been designed and
under which conditions. Settle for conscious
firms that safeguard the environment during
the whole manufacturing process.
Recycle Your Clothes
Some textile companies have been
progressively incorporating a collection
point in their physical stores where you can
easily deposit those pieces you no longer
wear so other people can reuse them.

Photo: Sunshine Abou Bakar.

The Miuse Editorials Page 21
N o 1
THE
NEW
MOD
ERN
PHOTOGRAPHY: MATT FORD (@MATTFORDSTUDIO).
EDITOR & STYLIST: ERIKA HANSON.
HAIR: HIROKAZU ENDO @ COFFIN INC.
MUA: ANNA PAYNE @ CLM AGENCY.
ASSISTANT: AMY BARROW.
MODEL: JESSICA LUOSTARINEN @ WILHELMINA MODELS.

On This Page: ISSEY
MIYAKE Dress, STYLIST’S
OWN Boots, and SUNDAY
SOMEWHERE Sunglasses.

On This Page: KASSL
EDITIONS Trench Coat.
Opposite Page: FILIPA K
Jacket, LINDSAY NICHOLAS
NEW YORK Top (Provided
by Platform Creative), FILIPA
K Trousers, and LINDA
FARROW Sunglasses.

On This Page: NYNNE
DRESS (Provided
by IN+ADDITION
COMMUNICATIONS)
SUSANNAH LOVIS Bracelet
(Provided by Profile PR),
MARC JACOBS Bag
(Provided by Coggles).
Opposite Page: NYNNE Dress
(Provided by IN+ADDITION
COMMUNICATIONS),
SUSANNAH LOVIS Ring
(Provided by Profile
PR), and ESSẼN Heels
(Provided by IN+ADDITION
COMMUNICATIONS).

On This Page: MIHANO
MOMOSA Dress.
Opposite Page: BOTTEGA
VENETA Mini Jodie Bag
(Provided by shopping_
agent_london), A-JANE Skirt
(Provided by POP PR), and
STYLIST’S OWN Bodysuit.

On This Page: NYNNE
Dress (Provided
by IN+ADDITION
COMMUNICATIONS),
KASSL EDITIONS
Bag, and ESSẼN
Shoes (Provided
by IN+ADDITION
COMMUNICATIONS).
Opposite Page: FILIPA K
Jacket, FILIPA K Trousers,
and PRADA Boots.

On This Page: SANDRA
MANSOUR Dress
(Provided by Giorgia Viola
Communication).
Opposite Page: FILIPA K
Jacket, NYNNE Trousers
(Provided by IN+ADDITION
COMMUNICATIONS), DIOR
Bag (Provided by Eshita of By
Rotation), and ESSẼN Heels
(Provided by IN+ADDITION
COMMUNICATIONS).

The Miuse Interviews Page 33
N o 1
INTERVIEW
with
FOUNDER &
CREATIVE
DIRECTOR
of
LA COLLECTION
Clothes are meant to last a lifetime in more ways than one. Quality is at the forefront,
and second, comes timeless styles. La Collection is a brand that gets this right.
FLORENCE COOLS, the FOUNDER and CREATIVE DIRECTOR of Antwerp’s
emerging label LA COLLECTION tells Miuse about boss women, design processes,
and what the future holds for the brand.

Interviewed by Erika Hanson

Interviewed by Erika Hanson
Page 35
La Collection was founded by Florence Cools in
2017 with the idea of creating the perfect minimalistic
yet feminine brand together with the highest quality
possible. “I found myself craving the thought of being
covered in only natural fabrics. I wanted to prioritise
the perfect pieces with maximum volume, rather
than wearing the pieces I could find from other labels
around me, that tried to live up to these ideas but
in the end, perhaps didn’t use enough fabric or the
best possible quality,” says Cools. “I was looking for
those perfect pieces to keep in my closet forever, and
I realised that I was so demanding for something I
couldn’t find so finally I just had to make it myself.”
It is a label that does not follow trends and seasonafter-season
designs impeccably executed pieces for
modern women. Sleek feminine styles that remain
practical will ensure that these pieces will be used
for every occasion a woman faces. “Behind every
piece, there is so much thought, care and work. Every
new design starts from scratch, it can be an idea that
has been in my head for a while, or for example an
inspiration seen in an old movie. After that, I start
sketching this piece, sometimes even thinking it over
and redesigning it for two weeks until I finally pass
it through to our atelier where the technical research
and pattern making begins,” says Cools. “For me, it is
crucial to be included in the technical stage, I am quite
picky about what the length or seam width should be
of a certain piece, how the sleeve should be attached
to the body of a blazer, how the finish of the inside
seams look and so on. Creating a collection is much
more than just creating designs, it’s making sure it will
work as a wearable piece that in the end needs to end
up in a store and blow a customer’s mind away.”
“I LOVE TO
THINK OF MY
CUSTOMER
AS A
STRONG
WOMAN
WHO FEELS
SEXY IN
A SIMPLE
TURTLENECK...”
Cools’ background in fashion tech is shown in her
devotion to fine craft and her perfectly tailored
silhouettes make it known that Cools knows how to
dress women. “I love to think of my costumer as a
strong woman who feels sexy in a simple turtleneck
rather than with low-cut cleavage, a woman who
feels so empowered and confident by wearing
my collection that she feels like she could run the
world,” says Cools. Its no wonder that La Collection
has garnered a cult following in the last few years,
including the likes of Rosie Huntington-Whiteley, who
was seen wearing the brand’s Adeline Coat in one of
her infamous Instagram OOTW posts. “As a matter
of fact, a lot of our customers are businesswomen
who tend to wear our designs from office to a
dinner party,” says Cools, “Although I also think La
Collection is suitable for every woman out there, it is a
customer who appreciates our style and quality, who
loves to dress effortlessly yet always chic.”

Interviewed by Erika Hanson
Page 36
Cools knows the woman she makes clothes for,
and keeps in mind where this consumer will be
sporting her pieces, as she says, “I always make sure
the piece can be used for every occasion a woman
faces.” She carries on, “and I personally love to go to
the office, followed by my grocery run, and ending
the day in a restaurant with the same outfit I had put
on that same morning.” A brand that is appropriate
for all times of the day? Sign me up!
When Cools isn’t designing her next collection, she
can be seen on her Instagram sharing a glimpse into
her daily life and routines. Social media marketing
is essentially one of the most important aspects
of having a brand today. It also helps to have a
cult following to your name as well, with Cools
sporting 105k followers and counting on her profile.
Cools agrees of its
“I CAN DEFINITELY ASSURE
YOU THAT WE WILL BE
WORKING HARD TO MAKE
THE LA COLLECTION
UNIVERSE A WELL-KNOWN
ONE ALL AROUND THE
WORLD.”
importance, saying that
she cannot “deny the
importance of being
on social media these
days, because it truly
is!” She carries on,
“although, I do think
that the key to making a
brand on IG successful
is to extend that world
you are creating into
a whole universe that
reflects on all of your inspirations and visions. And,
I have to admit that I really love to do that. I can let
my creativity loose and create content with the things
I previously designed, it’s amazing!”
Taking the current climate into consideration, we
asked Cools how the Covid-19 pandemic has
affected her brand. Shopping and supporting smaller
businesses are important now more than ever, and
shopping at local brands will ensure that they will
still have a business to come to once society reverts
to normal. Cools replied, “it has surely made things
more difficult for us, but we are looking into new
ways of bringing our label out there and we are
most definitely not giving up. I believe if we all work
together with the greatest respect for each other
then we will find new ways of working and making
sure our beautiful industry survives this crisis.” Being
based in Antwerp, Cools relies on her local customer
base as much as her international one. All this would
not be possible without the ultimate appreciation
of her customers, with Cools stating that “it is them
who buy these pieces I create, and because of
that making sure I can continue to create this La
Collection universe they love and take delight in.”
Asking Cools what is to come of La Collection
in the future, Cools replies, “we are working hard
on developing the label into a full collection, with
knitwear (already seen for Fall20) shoes, bags
and jewellery to complete people’s La Collection
looks.” Before you know it, you will be able to
wear La Collection and only La Collection. Cools
continues, “in fact, we are not just a small brand who
want to take things as they come and wait for good
things to hopefully happen, we take our business and
growth quite seriously and we have some truly exciting
things happening in the near future that I can’t wait to
share with you all. But I can definitely assure you that
we will be working hard to make the La Collection
universe a well-known one all around the world.”

The Miuse Editorials
N o 1
ALL
NATURAL
PHOTOGRAPHER: LINA ZANGERS. REP. AT SONJA HEINTSCHEL.
STYLIST: SCHROEDORF AND BETTER LIFE LAB. MUA: KATJA
MAASSEN. LIGANORD. MODEL: CARO WALCH @ VIVA MODELS
BERLIN. ASSISTANT: LISA MARTINI.

Opposite Page:
CHANEL Glasses.

On This Page: GUCCI Earring,
and VINTAGE GIANNI
VERSACE Jacket.

On This Page: CHANEL Brooch.
Opposite Page: CHANEL Jacket.

Opposite Page:
GUCCI Earring, and
VINTAGE GIANNI
VERSACE Jacket.

The Miuse Interviews Page 45
N o 1
WOMAN ON TOP:
AYLIN KOENIG
ON HER BRAND,
BY AYLIN KOENIG
Hamburg-based AYLIN KOENIG doesn’t do downtime.
Whether it’s her NEXT COLLECTION or a FASHION WEEK on the
other side of the world, Koenig approaches everything with unwavering
passion. The BLOGGER-AND-DESIGNER shares her BRAND STORY
with MIUSE.

Interviewed by Erika Hanson
Page 46
ERIKA: HOW WAS BY AYLIN KOENIG STARTED? WAS
THERE A GAP IN THE MARKET YOU FOUND?
AYLIN: We founded the label by Aylin Koenig in the
end of 2018. I already had the idea to establish my
own label for a couple of years as fashion is my
absolute passion. The start of the label was preceded
by several months of preparations, the whole founding
phase was very complex and detailed. In this sense
I didn’t see a gap, but rather followed my dream:
To create products that carry 100% of my signature.
Fortunately, the response has been very positive
since the beginning and it’s still a nice confirmation
of the daily work.
ERIKA: AS A DESIGNER, WHERE DO YOUR PROCESSES
BEGIN WHEN YOU START DESIGNING YOUR NEXT
COLLECTION?
AYLIN: I’m on a daily search for inspiration: in classic
fashion magazines, on social media channels or
when strolling through the city. It is very important
to me to have my own signature in the product
development: it’s all about products suitable for
everyday use in high quality at affordable prices.
Often ideas arise spontaneously, which I then
discuss with the team and coordinate in close
cooperation with the production facilities in Italy.
It is always an exciting process, especially since
the entire coordination process takes a lot of time.
ERIKA: YOUR COLLECTIONS ARE THE PERFECT
EVERYDAY STAPLE PIECES. WHO DO YOU DESIGN
FOR? WHOM DO YOU ENVISION THE BY AYLIN
KOENIG CUSTOMER TO BE?
AYLIN: I want to be an inspiration for fashionconscious
women. I have the feeling that trends
aren’t really tangible for some women or that there’s
uncertainty about changes. Our new SS20 collection
is designed in such a way that individual pieces
can be worn perfectly as a look, giving customers
a better feel. In addition to aesthetics, I also want
to make my customers being aware of materials and
compositions due to the fact that the sustainability
and durability of garments are essential parts of the
value-added chain. At the end of the day, I simply
want my customers to make a conscious purchase
decision for or against the label.
ERIKA: YOU HAVE MASTERED MANY TALENTS; SOME
INCLUDING BALANCING A SUCCESSFUL BLOG,
DESIGNING A WOMENSWEAR LABEL, AS WELL AS
CREATING CONTENT AND STAYING ACTIVE ON AN
EVER-GROWING INSTAGRAM ACCOUNT WITH 644K
FOLLOWERS AND COUNTING. WHAT DOES A TYPICAL
DAY LOOK LIKE FOR YOU?
AYLIN: It is difficult to describe a typical everyday
life. Due to the current corona situation, I spend a
lot of time in our office in Hamburg. Since we still
see the label itself as a start-up, all processes are
done in-house: product development, content
creation, storage & shipping, customer management,
accounting etc. It is exciting and incredibly fun to
accompany this process.
The whole thing wouldn’t be possible without a
team anyway. Everyone shares the same spirit and
enthusiasm for building the label and daily exchange
with users and followers. Being authentic and
approachable is an essential part of our daily work,
we always try to consider the customer’s feedback
and opinions in our decision making. The fact
that I have been able to convince so many people
with my enthusiasm for fashion and social media
over the years is still just amazing. Even if there are
difficult times and bad phases, you have to go on
and concentrate on the positive aspects of your daily
work-life-balance.

Interviewed by Erika Hanson
Page 47
ERIKA: YOU’VE BEEN A BLOGGER BEFORE YOU’VE
BECOME A DESIGNER. HOW HAS THIS SHAPED YOU
AS THE DESIGNER BEHIND THE BY AYLIN KOENIG
BRAND? HAS THIS HELPED YOU?
AYLIN: I’m not sure if my work as a blogger keeps
me more or less busy with fashion than in any other
job. Certainly, as a blogger, I have the privilege of
being able to visit international Fashion Weeks and
work with major fashion labels. It’s fascinating to see
what goes on behind the scenes of big brands and to
meet new personalities from the industry again and
again. Through this, I have learned a lot about fashion
and have been able to incorporate the development
of my own label. Nevertheless, it’s really a positive
aspect to get support from other fashion influencers
as significant added value for the label’s positioning
and awareness.
ERIKA: YOU ARE YOUR BRAND, AS WELL AS THE FACE
OF YOUR BRAND. WHAT IS SOMETHING MOST PEOPLE
DON’T KNOW ABOUT YOU?
AYLIN: I think it’s a positive aspect that people
associate my person with the label. There’s no external
company or any investor that dictate our processes,
everything is developed independently and with
conviction. Sometimes I’m afraid, of course, whether
a particular style will be accepted by people or the
design will meet their taste. In the end, all designers
probably have the same fears and doubts, but that’s
certainly always part of creative jobs.

Interviewed by Erika Hanson
Page 48
ERIKA: WHAT IS YOUR FAVOURITE PART ABOUT
BEING THE DESIGNER OF YOUR OWN LABEL?
AYLIN: What I appreciate the most is the fact
that everything is created 100% in-house. This is
sometimes very time-consuming and small-scale but
this start-up feeling is simply an incredible incentive
and a great motivation to push the label further. In
the future, there will certainly be changes, but at the
moment we all enjoy what we do.
ERIKA: BY AYLIN KOENIG HAS A LARGE AND LOYAL
FOLLOWING ON INSTAGRAM. AS SOMEONE LIKE YOU
WHO HAS MASTERED SOCIAL MEDIA, WHAT ROLE
DO YOU THINK SOCIAL MEDIA PLAYS IN FASHION
BRANDS, LIKE YOURS, TODAY?
AYLIN: I think social media can make a big
contribution to the development of fashion brands.
There’s a direct exchange with the community, direct
feedback on products can be obtained. Furthermore,
brands have little wastage and likewise organic
growth potential. Today, a single post or tweet from
a famous person can be enough to create global
awareness for a brand. Social media isn’t a selfrunner
and competition is fierce but with authentic
and continuous content, social media is an important
tool for growth and awareness.
ERIKA: YOU RECENTLY RELEASED YOUR SS20
COLLECTION AND RELAUNCHED YOUR WEBSITE.
WHAT WAS YOUR INSPIRATION BETWEEN THE
LATEST COLLECTION?
AYLIN: The SS20 collection is a mix between strong
silhouettes, serenity and playful details without losing
its everyday wearability. The collection consists of 17
styles coming in a minimal colour palette from a natural
range: offwhite, sand, green, taupe, black and baby
blue. Pieces like cropped tops with overlong bell sleeves
made of the softest silk paired with high waisted linen
palazzo pants will get you through summer in style.
ERIKA: WHAT DOES THE FUTURE HOLD FOR BY
AYLIN KOENIG?
Images: Courtesy of Aylin Koenig
AYLIN: We have already launched the AW20/21
collection. The aim of the label is to develop new
and high-quality collections. Currently, we sell the
goods exclusively through our own online shop,
we manage the marketing completely on our own.
There are already concrete discussions to expand the
distribution channels and to open up new business
branches. We have many international customers and
a daily growing IG-Account (@by_aylinkoenig), so we
are looking forward to the future without making hasty
decisions. True to the motto: Made for you with love!

The Miuse Interviews
N o 1
Page 49
THE
WOMAN
REVIVING
VINTAGE
SPORTSWEAR
EMILY OBERG is NO STRANGER to SPORTSWEAR. The founder of the MAJORLY EXCLUSIVE
and DESIRABLE athleisurewear brand, SPORTY & RICH, knows what everyone wants to wear,
easily making it one of the most SOUGHT-AFTER BRANDS in 2020.
OBERG talks to Miuse about SUSTAINABLE INITIATIVES, the INSPIRATION
behind her designs, and FUTURE PLANS for the SPORTY & RICH brand.

Interviewed by Erika Hanson
Page 50
ERIKA: HOW WAS YOUR BRAND SPORTY AND
RICH BORN? WHOM WAS IT INTENDED TO BE
WORN BY?
EMILY: It started as a mood board for life. It was an
account I started where I could post all my inspirations
and references. It is intended to be worn by anyone
and everyone. It’s timeless and classic and isn’t trendy.
ERIKA: YOUR LATEST COLLECTION DROPPED
JUST A FEW DAYS AGO. TELL US ABOUT THIS
COLLECTION AND THE INSPIRATION BEHIND IT.
EMILY: My inspirations always revolve around vintage
sportswear, princess Diana, 80s workout videos,
collegiate style, country clubs, Wasp culture etc.
ERIKA: ONE ASPECT THAT HAS STOOD OUT TO
US IS THE SUSTAINABLE MODEL YOU FOLLOW
FOR SPORTY AND RICH. YOUR BRAND OPERATES
ON A PRE-ORDER BASIS WHICH IS PAVING A NEW
SUSTAINABLE FUTURE FOR FASHION. WHEN DID
YOU DECIDE TO DO THIS?
EMILY: I decided to do this when I started to make
clothes in a real and more scheduled way. Before last
year, I had just released random pieces every few
months when I had the time. Now I do it consistently
so I needed a more consistent and sustainable business
model. I didn’t want to turn it into a real brand before
because I hate the fact that I’m contributing to the
pollution and demise of the planet. So to do it in this
way was the best option for me.
ERIKA: IF THERE IS ANYTHING NOW THAT
YOU’D CHANGE ABOUT SPORTY AND RICH, WHAT
WOULD IT BE?
EMILY: Nothing. I’ve built it exactly as I wanted to.
That’s the beauty of being your own boss and being
in control of your own life, everything is exactly as you
want it to be.
ERIKA: WHEN YOU’RE NOT RUNNING
THE SPORTY AND RICH BRAND, WHAT ARE YOU
DOING?
EMILY: Working out, cooking, eating, spending time
with my boyfriend or friends, or travelling.
ERIKA: YOUR SPORTY AND RICH STORY IS
INSPIRING HUNDREDS, IF NOT THOUSANDS
OF OTHER PEOPLE TO START UP THEIR
ATHLEISURE BRANDS AS THEY HAVE SEEN HOW
SUCCESSFUL SPORTY AND RICH HAS BECOME.
WHAT ONE PIECE OF ADVICE WOULD YOU GIVE
THEM?
EMILY: I would say... don’t just start a brand for
the sake of having a brand. People are too easily
influenced by others these days, they lose themselves
and their own identity. They see someone’s life on
social media and it looks cool, so they mimic what
they see. But it may not be who they truly are, it may
not be what they really love. Find your happiness
before anything else, happiness should always come
first. For me it certainly does. Revolve your life around
your happiness, not your work, not your relationships,
not your family. not your friends, not your material
possessions.
ERIKA: YOU HAVE SUCCESSFULLY BUILT A
SOUGHT-AFTER EXCLUSIVE ATHLEISURE BRAND.
WHAT CAN YOU SHARE ABOUT YOUR CREATIVE
PROCESS AND AT WHAT POINT DID YOU REALISE
THERE WAS A DEMAND FOR SPORTY AND RICH?
EMILY: I buy old books and magazines and
reference images from those. I spend a lot of time on
tumblr and pintrest as well. I’m inspired by anything
beautiful, I love beauty. Whether its a girl who’s
style I admire that I can picture in the clothes, or a
summer holiday, the colors of candy and children’s
toys, it varies. I realized there was a demand because
the account started gaining a lot of traction and
engagement. When I would post the clothes people
loved them and would ask for them. It all happened
organically and slowly. I’ve had the brand since 2014
but only started really selling clothes last year.
ERIKA: WHAT IS TO COME FOR SPORTY AND
RICH IN THE FUTURE?
EMILY: More product categories, more collaborations
and eventually, the most luxurious wellness centres
you can imagine- a high end gym/spa/country club/
pool club. That’s my end goal.
Image On Opposite Page: Emily Oberg by Pavielle Garcia for Ssense.
Image On This Page: Emily Oberg (@emilyoberg on Instagram).

The Miuse Editorials Page 51
PHOTOGRAPHER: AURIANE DEFERT.
STYLIST: SAMMIEY HUGHES.
N o 1
IN HUES
OF GREY

On This Page: WANDLER
Bag.
Opposite Page: HARRIS
WHARF LONDON Trench
Coat.

On This Page: BAR
JEWELLERY Earring, and
HOLZWEILER Top.
Opposite Page: JOSEPH Dress.

On This Page:
GAUGE81 Blazer.
Opposite Page:
PB 0110 Bag, and
XU ZHI Top.

On This Page: DIM
Underwear, and
ISABELLA D Jumper.
Opposite Page: JH.
ZANE Trousers, and
TOPSHOP Mules.

The Miuse Interviews
Image: Gosia Boy (@gosiaboy)
N o 1
Page 59
Behind The Brand
BIRGITTE HERSKIND
Image: Jiyoung Kim (@jiyoungkim6364)
Image: Carola Pojer (@carolapojer)

Interviewed by Erika Hanson
Page 60
BIRGITTE HERSKIND is a DANISH BRAND in the heart of vibrant COPENHAGEN that you need
to keep an eye on. Founded in 2013 by BIRGITTE HERSKIND, the brand is a CULT-FAVOURITE
among many of your favourite fashion bloggers and influencers.
HERSKIND designs WEARABLE fashion for STYLISH AND CHEEKY WOMEN -
and so if that doesn’t sell the brand to you, I’m not sure what will.
Erika Hanson: HOW WAS THE BIRGITTE
HERSKIND BRAND BORN? WAS THERE A GAP IN
THE MARKET YOU KNEW YOU COULD FILL?
Birgitte Herskind: I used to be head of design for
a big Danish brand, but cause to the financial crisis it
went bankrupt. I could feel it was time for me to make
my own brand, so I could be true to my own design
philosophy. For me it’s really important that my design
is high quality, that goes for both the handwork and
the fabric. I pay attentions to all details – to be honest
I am a nerd for my design. I never wonder if there was
a gab in the market for a new brand, I would more say,
I couldn’t stop when I first had the idea.
EH: BIRGITTE HERSKIND IS A BALANCE OF
CLASSIC AND MODERN WOMENSWEAR, YET
REMAINS PLAYFUL AND WEARABLE. WHAT WERE
YOUR INSPIRATIONS BEHIND CREATING THE
BRAND?
BH: For me it’s really important to create wearable
fashion, either you are dressing for a rainy Wednesday
or for a going out Friday night. But it’s also important
to me, that the design has it’s justification, it needs to
be standing out – not being noisy, but having its own
signature. I don’t have a special inspiration, my design
is my interpretation of international trends.
EH: WHO DO YOU DESIGN YOUR CLOTHES
FOR? WHO IS THE BIRGITTE HERSKIND CUSTOMER?
BH: ’Our woman is brave, spontaneous and smart,
simultaneously upright and feminine, stylish and
cheeky, urban and genuine, natural and sensual.
EH: COPENHAGEN IS NOW BECOMING ONE
OF THE LEADING DESTINATIONS FOR FASHION
DESIGNERS. HOW HAS BEING BASED IN
COPENHAGEN SHAPED THE BIRGITTE HERSKIND
BRAND?
BH: I really love Copenhagen, it’s so spontaneous,
like now during the Covid19 crises, kindergartens have
space at Tivoli and Copenhagen Zoo, as they are
no open for public and the kindergartens need more
space. And yes, Copenhagen has become a fashion
destination and I really do get inspired by the looking
at the girl in the streets.
EH: BIRGITTE HERSKIND IS WORN BY SOME OF
OUR FAVOURITE SOCIAL MEDIA INFLUENCERS.
AT WHAT POINT DID YOU KNOW BIRGITTE
HERSKIND WAS BECOMING A SUCCESSFUL
WOMENSWEAR BRAND?
BH: I didn’t and I am really grateful every day.
EH: WHAT DOES THE FUTURE HOLD FOR
THE BIRGITTE HERSKIND BRAND?
BH: If you had asked me 3 month ago, you for sure
would have had another answers than my answer will
be today in the middle of the Covid 19 crises. But for sure
I can say, my brand will be more and more sustainable,
for my next collection we manage to have 80% of all
our styles sustainable. You will see smaller collections
from me and they will fit more to the market: : buy now
wear now, so no small summer dresses delivered in
January or rather no wool sweaters on sale in January.
We need to learn and we need to take responsibility.

The Miuse Interviews
N o 1
Page 61
THE
ETHICAL &
SUSTAINABLE
JEWELLERY
BRAND
YOU NEED
TO KNOW
Interviewed by Erika Hanson

A SUSTAINABLE and ETHICAL ETHOS should be at the CENTRE of every
brand today, and brand’s that do this are at the FOREFRONT OF THE CHANGE we hope to
see now and in the future. That is why ALICE BESSEY, the FOUNDER and DESIGNER behind
the brand ALICE GWYNETH JEWELLERY, has created a brand WORTH investing in.
BESSEY talks to Miuse about the BEGINNING OF HER BRAND, being an
ENVIRONMENTALLY CONSCIOUS CREATIVE, and plans for EXPANDING the AGJ BRAND.
Images: Alice Gwyneth

ERIKA: WHO DO YOU DESIGN YOUR
JEWELLERY FOR? IS THERE A TARGET ALICE
GWYNETH JEWELLERY CUSTOMER?
ALICE: Essentially the conscientious consumer
is my main target audience. As every piece is
handmade to order from Sustainable materials,
it can take up to four weeks to be finished.
Because of this, I tend to have customers that
share the same ethics as me and are happy to
support the sustainable process in return for a
piece that has had little ecological impact and will
last forever. That being said, AGJ is gender / age
neutral; I’ve had the honour of making and selling
jewellery to a vast audience of customers - I think
that’s the delight of my creations, they look great
on everyone!
ERIKA: HOW WAS THE ALICE GWYNETH
JEWELLERY BRAND BORN?
ALICE: I’ve always been creative, but It wasn’t
until I was living in New Zealand did I become
interested in making jewellery...after doing a
basic six week course I became hooked and
decided I wanted to pursue it further. I’ve always
been politically & environmentally conscious
and envisaged one day having a business that
combined my ethics and passion...from this, Alice
Gwyneth Jewellery was born.
ERIKA: ALICE GWYNETH JEWELLERY IS
HANDMADE ALL BY YOURSELF IN THE UK.
WHAT DIFFICULTIES HAVE YOU FACED SINCE
YOUR LAUNCH IN 2018?
ALICE: Being a one woman band can have
its difficulties. Having to do every aspect of the
business means that I have to balance my time
efficiently to ensure no side of the business is
lacking. It also means that I’ve had to learn from
some big mistakes along the way, some that may
have been avoided if it wasn’t just me. In saying
that, I’m proud of what I’ve achieved on my own
and thankful that I’ve had the opportunity to learn
from my mistakes so early on in the business
rather than later as it’s given me the opportunity
to learn and grown economically.
As a small independent business, the greatest
difficulty I’ve faced so far is the Covid 19 pandemic.
The decision to continue to continue trading was a
difficult but essential one; I think small businesses
have been affected the most. Luckily I have the
most loyal and lovely customers who have shown
an incredible amount of support.
ERIKA: TELL US MORE ABOUT THE
SUSTAINABLE AND ETHICAL ETHOS
THAT DRIVE THE ALICE GWYNETH
JEWELLERY BRAND.
ALICE: I think it’s so important for businesses
to take responsibility of how they are affecting
humanity and the environment. Our ‘fast fashion’
mentality is resulting in dramatic negative changes
to the environment and the way workers are
treated. Therefore AGJ prides itself of its ethics
of ‘Handmade, Eco & Sustainable’. All materials
and packaging are made from recycled materials.
Everything is handmade by me to order as this
not only reduces stock waste but ensures where
your piece is coming from and how it is made. I
also offer a service of cleaning, fixing and Gold
plating for free (T&C’s apply) to ensure that your
piece lasts forever.

ERIKA: ALICE GWYNETH
JEWELLERY FEATURES CLASSIC AND
TIMELESS JEWELLERY THAT CAN BE WORN
BY ANYONE. WHAT ARE YOUR CREATIVE
PROCESSES BEHIND DESIGNING EACH PIECE?
ALICE: When designing pieces I take inspiration
from what is inspiring me at that moment. When
I made the mythology collection I was intrigued
about the myths and legends that embody our
cultures...when I designed the Organic Elements
collection I was inspired by the elements of our
planet... Inspiration can come from a variety of
things such as people, places, art & textures...
once I’ve found my inspiration I draw, design,
create & tweak samples until I’m happy with the
finished product!
ERIKA: ALICE GWYNETH JEWELLERY IS A
NEW, UPCOMING INDEPENDENT BRAND.
WHAT ARE YOUR BRAND GOALS AND
ASPIRATIONS FOR THE NEXT FEW YEARS?
ALICE: A big goal of mine is to expand Alice
Gwyneth into a sustainable ‘full package’ brand.
I’ve always been interested in fashion and home
design and would love to incorporate my ethics
and ethos into such creative elements. This
would also integrate my aspiration of having an
AG flagship store. A store that would sell entirely
sustainable products designed and made by
myself... the dream!
ERIKA: SHOPPING AND SUPPORTING LOCAL
BUSINESSES ARE IMPORTANT NOW MORE
THAN EVER DURING THE COVID-19 SITUATION.
HOW HAS THE PANDEMIC AFFECTED ALICE
GWYNETH JEWELLERY?
ALICE: The decision to stay open and to trade
was a difficult one. I obviously wanted to ensure
the safety of my customers by reducing the risk
of spreading Covid 19 so was considering closing
AGJ. I also faced the difficult situation of suppliers
closing and delays with Royal Mail.
After much consideration, I decided to stay
open but limit the pieces I could make by taking
the necessary safety precautions suggested by
the government. Like most businesses, I’ve
temporarily had to adapt and change the way I run
my business. Luckily, I have the most supportive
and loyal customers who continued to purchase
from me during this testing time!
ERIKA: WHAT DOES THE FUTURE HOLD FOR
THE ALICE GWYNETH JEWELLERY BRAND?
ALICE: Hopefully the future holds good things!
AGJ is now beginning to be stocked in stores
across the UK which is exciting to see. I’ve also
been working on new collections that should
be releasing in the Autumn and there are a few
interesting collaborations in the pipelines; so at
the moment the future looks bright and promising!

The Miuse Editorials Page 65
N o 1
QU’EST
CE
QUE
L’ART?
PHOTOGRAPHY: KYOUNGMIN RYU
MODEL: MIA HOLT @ THE SQUAD MANAGEMENT
EDITOR & STYLIST: ERIKA HANSON
HAIR STYLIST: AKIKO KAWASAKI
MUA: MARISOL STEWARD @ STELLA CREATIVE ARTISTS
PHOTOGRAPHY ASSISTANT: TJ STRETTON
SHOOT LOCATION: DARTMOUTH HOUSE, LONDON

On This Page and Previous
Page: GRETA BOLDINI
Dress, and ORTAEA Maji
Ring £12,750.00 (Provided
by MERCER KEEBLE PR).
Opposite Page: TONY WARD
COUTURE Dress, ORTAEA
Mode Earrings £3988.00
(Provided by MERCER
KEEBLE PR), and ORTAEA
Maji Ring £13,490.00
(Provided by MERCER
KEEBLE PR).

On This Page: GRETA
BOLDINI Dress, and
ORTAEA Maji Ring
£12,750.00 (Provided by
MERCER KEEBLE PR).
Opposite Page: ROTATE
BIRGER CHRISTENSEN
Dress (Provided by Rotaro),
and ORTAEA Koral Ring
£3230.00 (Provided by
MERCER KEEBLE PR).

On This Page: GRETA
BOLDINI Dress, and
ORTAEA Maji Ring
£12,750.00 (Provided by
MERCER KEEBLE PR).
Opposite Page: GRETA
BOLDINI Dress, and
ORTAEA Mode Earrings
£3988.00 (Provided by
MERCER KEEBLE PR).

On This Page: TONY
WARD COUTURE Dress.
Opposite Page: ROTATE
BIRGER CHRISTENSEN
Dress (Provided by Rotaro),
and ORTAEA Koral Ring
£3230.00 (Provided by
MERCER KEEBLE PR).

On This Page: GRETA
BOLDINI Dress, and
ORTAEA Mode Earrings
£3988.00 (Provided by
MERCER KEEBLE PR).
Opposite Page: GRETA
BOLDINI Dress, and
ORTAEA Mode Earrings
£3988.00 (Provided by
MERCER KEEBLE PR).

The Miuse Interviews
N o 1
Page 77
Interviewed by Erika Hanson
INTERVIEW WITH
Jewellery Brand
Founder Trine Tuxen -
THE BRAND THAT
TELLS A STORY
The TRINE TUXEN story began 8 years ago when Tuxen began
her EPONYMOUS BRAND, through which she wanted to COMMUNICATE
EMOTIONS and STORYTELLING THROUGH her pieces - these being KEY
POINTS that spoke to her during her own LIFE JOURNEY.
Images: Trine Tuxen Jewelry

ERIKA: TELL US ABOUT THE CREATION OF THE
TRINE TUXEN BRAND.
TRINE: I started my brand January 1st 2012. I had to
finish a professional dance career due to injuries. For
several years, I had taken jewellery classes as a hobby
and something that would give me a meditative state of
mind. I had to find a new path in life, so it felt natural to
start a jewellery brand that holds the same key points
- storytelling and a way to communicate my emotions.
E: TRINE TUXEN CREATES STATEMENT AND
TIMELESS JEWELLERY THAT CAN BE WORN BY
ANYONE, REGARDLESS OF AGE AND GENDER.
WHAT IS THE STORY BEHIND DESIGNING EACH
PIECE?
T: It’s very different - I’ve learnt that I need to listen to
myself at that specific time when I do create, cause I
can’t force myself through a specific process. But I love
to draw with watercolor and to mould in wax. But other
times it’s been on my computer or in the kitchen cutting
my greens :-) my latest collection VEGGIE is all made
in my kitchen, using a blender, a dehydrator, a spirooli
slicer, sharp knives and a julienne. So much fun, plus I
could eat some of the samples that didn’t work out -
haha.
E: DO YOU DESIGN YOUR JEWELLERY SPECIFICALLY
FOR A TARGET CUSTOMER?
T: I actually aim to target as many as possible- I’ve
found it honourable that my friend’s grandmother wears
my pieces and a young teenage girl and a man in his
40ies as well. And I like to keep it this way. The vast
majority of my customers are my age plus-minus 35. I
wouldn’t say that I put my mind to this when I design
- cause designing for me has to be more free and come
from within not with dogmas from outside, unless I set
them intentionally. I design what I desire, what fills my
heart and or mind and the process has to be fun. Right
now I’m trying to give myself a dogma of drawing with
my left hand (I’m normally right-handed) so that’s a
challenge and the outcome is actually quite interesting!!!
E: THE COVID-19 SITUATION HAS LEFT A SENSE
OF UNCERTAINTY FOR SOME BRANDS. HOW HAS
THE PANDEMIC AFFECTED TRINE TUXEN?
T: I got Really Really scared, and somehow paralyzed.
I’m on maternity leave, which has made it on one
hand more frustrating because I can’t work as much
as I want to, on the other hand, I have something else
on my mind and a baby that takes most of my time, so
I’ve avoided too many news and too many headaches.
I’m afraid of the consequences this will have. And some
of my retailers struggle so bad and my production just
had to close down for the time being. This scares me.
I really try to stay positive, and we’re trying to think
creatively as to how we can help others in need, and
how we need to look forward. I’m thinking lots of new
designs and if we can re-use something we already
have. I feel like I’m living life in an even more creative
way now, and I believe we’ll see this worldwide in
many different aspects - at least I’m hopeful.
E: COPENHAGEN IS NOW A LEADING DESTINATION
FOR BRANDS. HOW HAS BEING BASED IN
COPENHAGEN SHAPED THE TRINE TUXEN BRAND?
T: My brand is very local, most of my customers are
from Cph and most of the people I work with as well.
We’re a strong community and it feels safe, so it’s been
an amazing city to develop something this personal
which hold many insecurities. I’ve luckily had so much
support since January 1st 2012 when I started my
company, and I’m so thankful to still work closely with
so many people since the very beginning. This is to me
so meaningful, I’m such a Cancer!!! I LOVE to feel “at
home” in every setting.
E: WHAT DOES THE FUTURE HOLD FOR THE
TRINE TUXEN BRAND?
T: I’m hoping that my brand continuously will keep its
dynamic growth. I love to be part of every single step.
I hope to eventually open one more store. And I won’t
exclude the idea of bringing along other of my interest
- such as ceramics and natural tie and dip-dye!!!!

The Fashion Section
HOW
LUXURY
FASHION
WON BY
BLENDING
HIGH AND LOW
CULTURE
IN THE LATE
2010S
At the beginning of the 21st Century, the
boundaries between high and low fashion were blurring.
What previously went on behind closed doors of the
mythological fashion shows, to be witnessed only by
the fashion press and industry insiders, was served
on a silver platter to the feasting eyes of the public
online. Fashion was no longer a private party - the
influencer was born and commandeered the front row.
N o 1
Over the years, as distinctions of class and wealth
have become blurred in the fashion world, not only has
luxury become more accessible, but the consumer has
become more engaged, informed and sophisticated.
Today, the collections of the most esteemed fashion
designers in the world are streamed directly to Instagram
viewed on smartphones, shamelessly battling for
the young consumer’s attention. This is a generation

Author: Kelly Washington
Page 80
Photographer Campbell Addy
that has flipped ‘cool’ on its head, whose culture is
characterised by the epitome of post-irony: the meme.
The internet ‘meme’, meaning ‘imitation’, represents an
era of oversaturated content online, where everything
and anyone is analysed with immense attention to
detail. Post-irony, the instance in which sincere and
ironic intention becomes confused, began to play out in
fashion in terms of taste. Anything originally dismissed
as ‘uncool’, took on a new meaning. In the early
noughties, young people were adjusting to ‘being seen’
online, and irony was the defence mechanism of choice.
Today, young people possess an armour of confidence
online, they grew up with technology - so are bold and
sincere, or at least they appear to be. It is where fashion
met social media that post-irony took centre stage. For
luxury fashion in the 2010s, this was an opportunity.

Author: Kelly Washington
Page 81
As youth trends became increasingly difficult to
capture moving at the speed of light online, brands
responded with collaborations and campaigns that
were as clever as they were unexpected - catching the
hard-to-impress, newly sophisticated consumer’s eye.
The embodiment of this was Georgian designer Demna
Gvasalia’s large blue shopper bag, inspired by IKEA’s
Frakta bag, that featured in Balenciaga’s Spring/Summer
17 Menswear collection. Priced at £1,365 and made of
calf leather, the bag demanded the internet’s attention.
Known for his designs that are unapologetically in tune
with the zeitgeist, Gvasalia’s blue bag repurposed the
everyday and the mundane, playing to the 2010s postironic
online spirit. IKEA also benefited, responding with
an iconic move in guerrilla marketing, the furniture store
released an advert that read ‘how to identify an original
IKEA FRAKTA bag’ followed
by ‘SHAKE IT if it rustles, it’s
the real deal’ and ‘PRICE TAG
only $0.99’. Elsewhere, Gucci
teamed up with Highsnobiety (a
successful streetwear site with
a cult following) to produce a
lookbook promoting their graffitiinspired
Cruise 2017 collection.
Collaborating with snowboarder
Trevor Andrew, aka GucciGhost,
the luxury brand strived to engage
millennial consumers by blending
high fashion with streetwear
- undoubtedly the trend that
characterised the decade.
The rise in luxury streetwear collaborations in
menswear was no coincidence since streetwear
speaks to masculinity and strength - worn like armour
on the streets. As much as distinctions between high
and low culture were being broken down, streetwear
sites and brands did not shake their reputation.
As Highsnobiety’s founder David Fischer told The
Business of Fashion at the time, they were ‘still being
perceived as a niche website, but 500 impressions
a month is not niche’. Making the collaboration even
more effective - without its underground reputation,
Highsnobiety would not have had the desired effect
for Gucci. It was about playfully mixing and reshaping
cultures, styles and brands that both questioned
and repurposed the luxury garment as we know it.
Kim Jones at Louis Vuitton took this to the next
level for his Fall/Winter 2017 menswear collection.
A collaboration with Supreme sent models down
the runway sporting LV garments with Supreme
cross body bags, lanyards, briefcases; you name it.
“IF HIGH FASHION
IS MEANT TO SHOCK
AND HOLD A MIRROR
UP TO SOCIETY -
PERHAPS THIS
IS FASHION IN ITS
HIGHEST FORM.”
Louis Vuitton had released a collab with the original
‘hype brand’, characterised by long-awaited skatewear
drops online that sold out in minutes, sported by the
likes of underground provocateur Tyler the Creator
and the Odd Future clan. A purposeful nod to high/
low culture blending, Louis Vuitton’s collection
emphasised the hold that the internet had on fashion.
No surprise, it worked - the internet went wild.
Nothing came as close to post-ironic luxury fashion as
Gosha Rubchinskiy’s Spring/Summer 2018 Menswear
collaboration with Burberry. Burberry’s past emblazoned
on the check print, fraught with meaning that only
adds to its legacy - like a national flag. Historically,
the Burberry trench coat was the uniform of British
officers in the First World War, regarded as a token of
the aspirational middle class in Britain. The check was
iconic and popular. So popular -
that it fell victim to the ‘logomania’
of the 90s. Burberry (both fake
and real) was suddenly adopted
by the lower middle class and the
‘chavs’ in Britain. Football fans
in the UK and Eastern Europe
donned the print, known as the
‘Burberry Lads’. The brand was
synonymous with a chav-focused
moral panic that consumed British
media in the early noughties.
You could be barred from a pub
for wearing the check. When
that tabloid picture emerged
in 2002 of actress Danniella
Westbrook and her daughter
dressed head to toe in the pattern, the brand’s UK
sales plummeted. Enter Christopher Bailey to save
Burberry; by embracing and capitalising off the print’s
ubiquity, the company experienced a swift turnaround.
Paying homage to the UK’s influence on Russian football
combined with his love of electronic music, Rubchinskiy
sent football hooligan and rave-clad models down
the runway in St. Petersburg - and the chav-tastic
working-class youth in Britain were celebrated. An
emblem of British popular culture, once perceived
to be low culture, was repurposed on Rubchinskiy’s
runway; creating a high-low culture cocktail of street
style and 90s rave aesthetic that had a pervasive
influence on fashion and youth in the late 2010s.
The effect of social media on fashion during the
2010s decade was paramount. Urging luxury to be
playful, daring and bold; brands rewrote the rulebook
to appeal to a new internet-savvy generation. If high
fashion is meant to shock and hold a mirror up to
society - perhaps this is fashion in its highest form.

The Miuse Editorials
N o 1
Page 82
20
20
PHOTOGRAPHY: OLIVER BECKMANN (@MN-CREATIVE).
STYLING: MARCELLO BONA.
HMUA: SARAH LUCIA RABEL (@NINAKLEINAGENCY) -
USING UNITE, NARS AND AUGUSTINUS BADER.
MODEL: ANNA VIRZI (@PRESENTMODELMANAGEMENT).

Anna wears ACNE
STUDIOS Jacket.

Anna wears BOTTEGA
VENETA DRESS, and
HERMÈS Lens.

On This Page: Anna wears
DRIES VAN NOTEN full look.
Opposite Page: Anna wears
DRIES VAN NOTEN Top.

On This Page: Anna wears
BOTTEGA VENETA Dress, and
LOUIS VUITTON Earring.
Opposite Page: Anna wears JIL
SANDER Jacket, and BOTTEGA
VENETA Dress.

On This Page: Anna wears
DRIES VAN NOTEN Skirt, and
SASKIA DIEZ Earring.
Opposite Page: Anna wears
DRIES VAN NOTEN full look.

On This Page: Anna wears DRIES VAN NOTEN Jacket and Feather.
Opposite Page: Anna wears GUCCI Suit, CHLOÉ Blouse, ACNE
STUDIOS Shoes, and SASKIA DIEZ Earring.

Anna wears ACNE
STUDIOS Top and Pants,
JILL SANDER Shoes, and
LOUIS VUITTON Earring.

The Fashion Section Page 95
N o 1
5 DANISH BRANDS TO
SHOP TO DRESS LIKE A
COPENHAGEN IT-GIRL
COPENHAGEN IT-GIRL’S light up Instagram each with their UNIQUE
EXPRESSION of the WONDERFULLY MAXIMALIST UNDERTONE of DANISH fashion.
To blend in with the locals, do not try to blend in.
Image: Soren Jepsen

Author: Emilia Saksi
Page 96
Do not be afraid of a little KITSCH and EXPERIMENTAL COLOURS AND
SHAPES. The key is to BE EXPRESSIVE, rather than CONSTRICTIVE. Make it a little tonguein-cheek.
Below, be inspired by FIVE DANISH BRANDS loved by FASHION INSIDERS. DO
NOT HESITATE to combine pieces with personal vintage finds; the KEY is to LET YOUR HAIR
DOWN and LET YOUR FRECKLES SHOW THROUGH.
STINE GOYA
Stine Goya’s puffy
sleeves, decadent colours
and feminine shapes
make it feel as though
you are stepping into a
Rococo painting.
SAKS POTTS
Step into the
brand’s universe of
unconventional prints and
experiment with shapes,
cuts and materials.
SOULLAND
The androgynous
aesthetic of Soulland is
undeniably cool. Embrace
androgyny with the
men’s graphic t-shirt and
sweatshirt collection.
HELMSTEDT
Helmstedt offers a
collection with prints that
feel just like summer. The
design carries a folky
and nostalgic tone while
staying contemporary.
HAN KJØBENHAVN
Do not miss the buzz
around the wonderfully
kitschy Han Kjøbenhaven,
inspired by the everyday
streets of Denmark.
Image: Soren Jepsen

The Fashion Section Page 97
N o 1
DIOR:
WHITE FEMINISM SELLS
DLittle by little, FEMINISM has become MORE VISIBLE and has gained some
REPRESENTATION in the MEDIA during the LAST FEW YEARS. To become POLITICAL as well,
the HOUSE OF DIOR, under MARIA GRAZIA CHIURI’S direction, has joined this MOVEMENT,
but are their statements SINCERE?

Author: Lola Gian
Page 98
Image: Jamie Stoker/GoRunway.com
Little by little, feminism has become more visible and
has gained some representation in the media during
the last few years. To become political as well, the
House of Dior, under Maria Grazia Chiuri’s direction,
has joined this movement, but are their statements
sincere?
For her first Dior collection ever, Maria Grazia sent
two models, out of sixty-five, down the runway,
both with simple white t-shirts matched with black
tulle skirts. One of the t-shirts said: We should all
be feminists, and the other one: Dio(r)evolution.
Everyone was delighted with this collection, stating
that it was clear that the person in charge was now
a woman that refused to stick with the ladylike DNA
of the house, and that a new era was starting and
bringing the revolution to fashion. However, we have
not seen that so-called revolution yet.
It is known that for prestigious brands that have an
established audience, just like Dior, it is crucial to
think thoroughly what changes they should make
in order to please their clients while evolving at the
same time, and intersectional feminism is not a thing
to take lightly. It has been almost four years since
Maria Grazia is the creative director of Dior and her
mediocre take on feminism has not changed. She
continued delivering tops with recycled quotes that
evoke Girl Power, Sisterhood, and Revolution in
many shows but without genuinely engaging in any
movement through decision-making at the Maison.
The atmosphere in her runways amplifies this
poor white feminist discourse. For example, in the
autumn/winter 2020 Dior show, neon signs saying:
When women strike the world stops. Patriarchy =
climate emergency. Consent. Consent. Consent.
were all over the venue like it was a mixture of
today’s newspaper but with no actual content. But
then, when the show starts, the truth is right in front
of our eyes and we cannot help but wonder, how
sincere is Dior regarding these political statements
that they are trying to sell us?
According to Good On You world-leading source
of trusted brand ratings on ethical and sustainable
fashion–, Dior’s overall rating, which includes
environmental impact, labour conditions, and animal
welfare, is Not Good Enough. “Although it monitors
health and safety issues with an internal procedure,
there is no evidence it ensures payment of a living
wage in its supply chain or that it publishes supplier
lists, and it sources its final stage of production from
countries with extreme risk of labour abuse!” Good
On You on Dior’s rating, May 2019.
We assume that for Dior, feminism and Girl Power
simply do not apply to women who manufacture its
luxury goods, they only apply to the clients that can
afford its white t-shirts. In addition, their miserable
attempt to include Climate Change in their discourse
was doomed to fail. It takes little research to know
that Dior’s textile waste has not decreased in the past
few years and that they still make use of leather and
exotic animal skin and hair. We are not against big
brands taking the initiative of becoming sustainable,
and of supporting feminism, but we will not buy fake
designer statements. Before endorsing sustainability,
become sustainable. Before selling Girl Power,
empower girls.

The Miuse Editorials Page 99
N o 1
LESS
IS
PHOTOGRAPHY & STYLIST: ODA EIDE (@ODA.PHOTOGRAPHY).
MUA: PAMELA & ANDREA (@PANDAMAKEUP).
HAIR STYLIST: LOU (@LOVEHAIRBYLOU).
MODELS: JADE @ SELECT, POLINA & KARMA @ WILHELMINA,
ELIZABETH @ LINDEN STAUB.
MORE

Opporite Page: Jade wears
an earring by Atelier
D’Ornaments via Limitée PR.

Elizabeth wears an earring
by Atelier D’Ornaments
via Limitée PR.

Polina wears an earring
by Zohra Rahman via
Paper Matche Tiger PR.

Jade wears an earring
by Atelier D’Ornaments
via Limitée PR.

The Fashion Section Page 104
N o 1
Self Reflection:
WOMEN IN FASHION
ALEXANDRA LAPP
Alexandra Lapp is a woman of many talents; branding herself not only as
an entrepreneur but also as a columnist, a blogger, a model & influencer
- there is nothing this woman cannot do. Her style is the perfect mixture
of classic vibrant pieces that are mixed with the latest trends.
The Düsseldorf-born influencer boasts over 304,000 followers on her
social media platform profile, posting snippets every day for a glimpse
into her daily life. Pre-quarantine life, Lapp was sharing her extravagant
trips from one country to the next - whether it’s to attend the season’s
fashion shows, to lounge at the bluest of beaches in the Maldives, or
to the heart of the city in Paris. After starting her blog in 2015 after
encouragement from her sister, Isabel, Lapp is now one of the most
notable and recognized voices in fashion for her unique and true-to-self
style, as well as her vibrant and maximalist feed.
JUSTYNA CZERNIAK
JJustyna Czerniak is already a household name in the fashion industry
for her sublimely chic and minimal style, both on her and her curated
Instagram feed. 95,000 followers and counting, Czerniak shares
glimpses into her life and how she balances her job and family
life as a wife and mother through her Instagram posts and stories.
You may know Czerniak from her street style at CPFW and
PFW season-after-season that has been featured countless
times in leading fashion publications like Vogue Italia, L’Ifficiel
Paris, and Harper’s Bazaar, or you might even possibly know her
almighty and ever-growing collection of New Bottega pieces that
have garnered attention from the New Bottega account itself.

Page 105
SOPHIA IPPOLITI
I’m Sophia Ippoliti, Digital Content Creator from Rome. What I do is create
content whose essence is my way of seeing things, my ideas, my love for
simplicity. Every single shot is for me the result of a search for tones,
geometries and perspectives, nothing is given to chance. Everything
has a study and a reason. The work of Content Creator stimulates me
daily, it leads me to want to improve myself more and more. I am happy
when these are received by those who follow me, make me feel able to
communicate myself through images and colors, make me feel that there
is an invisible but tangible connection between my ideas and those who
observe them.
My creative background derives from the constant stimuli received since I
was a child, in fact I am growing in a creative context and made of colors, my
parents have a graphics and advertising company. It is also thanks to them
that I have become who I am. Always immersed in creations of all kinds,
I always wanted to deepen studying photography, art and architecture,
always self-taught. The world of fashion is a means of expression, thanks
to the construction of a personal style we can communicate who we
are. In a certain sense, I believe that the individual’s personal identity
is a combination of everything, ideas, culture, aesthetics and lifestyle.
It’s all about balance between what we love and what we want to be.”
GERGANA IVANOVA
“I want a life less ordinary. I want to love. I want to take risks, be openminded,
be strong enough to follow my dreams, and confident enough
to not listen to what anyone else thinks” – Gergana Ivanova. If theres one
influencer you should be following and keeping up with during lockdown,
it is Gergana Ivanova. Her carefully curated Instagram is full of fashion,
beauty, and visually pleasing imagery; there’s something for everyone.
290,000 followers and counting, Ivanova is a voice not going anywhere
anytime soon.
Gergana Ivanova began her blog back in 2014, and from there now runs
a successful clothing brand, Gergana Ivanova, that sells the perfect mix
of elevated daily essentials and timeless pieces for any-and-everyone.
Over the years, Ivanova has garnered considerable amount of attention
across social media for her highly pleasing visual imagery that she shares
with her followers, with her photos being shared by major leading voices
on the platform.

Page 106
ANNA BORISOVNA
Anna Borisovna Ovtchinnikova relies on personality. They would like
to contribute and influence their very own touch in their fashion blog.
And she has been doing this very successfully for five years: in years
she has around 60,000 followers on Instagram, is also a style advisor
at Massimo Dutti and is also a freelance stylist for photoshoots. Through
their own photos, they belong to all women to share their fun in fashion.
It always belongs to the motto: “Less is more.”
“Pictures say more than words” Anna Borisovna - the name stands for
fashion, beauty, travel and delicious, healthy recipes. The whole thing
is topped by the constantly fresh Instagram content, which the around
60,000 followers of the original fashion blog can now see there. The
owner, Anna Ovtchinnikova, started building her fashion blog five years
ago when fashion blogs had their wedding away from social media. Since
the focus of the public is now more on Instagram and less on own blogs,
blogging has become increasingly irrelevant, the 30-year-old regrets. For
her, the personal page of such a blog has something very special, which
is why she never gave it up - especially at the beginning, it was difficult
to stand out from the mass of fashion bloggers. And that is exactly the
message that she wants to bring across herself: Now that she has arrived
in her dream world, the fashion industry, she wants to show her very
personal and natural side and her skill as an influencer every day. From
an early age, Anna wanted to be in the fashion industry and so the
trained hotel manager has come closer and closer to her with small steps.
LENA LADEMANN
Hamburg-based creative Lena Lademann is one of our favourite
influencers on Instagram to this day. Her curated Instagram feed brings
together a mixture of fashion, creative graphics, and inspirational imagery
that draws you in with every post.
She co-founded Blogger Bazaar in 2013 but decided afterwards to leave
to run her own business, Lena Lademann. The phrase “you can’t have
it it all” doesn’t apply to Lademann, as she is able to portray her own
individual style through her platform yet remains chic whilst doing it. Her
posting schedule has remained coherent and regular, posting daily for
her followers to catch a glimpse inside the life of Lademann. In the life
of an influencer, one must stay true to yourself right from the start and
remember why you started the journey in the first place.
Lademann is no stranger to the public eye and is one of the top
influencers in her field. With credibility at the forefront of her partnerships,
Lademann has partnered and worked with top brands where she has
established relationships with for years to come. She is a fashion insider
being recognised more and more by larger voices, being photographed by
the world’s top photographers outside fashion shows at fashion week, as
well as being featured in Vogue on multiple occasions. Her street style has
been captured and shared on multiple occasions, and so chances that
you may have seen her style before are very high.

The Fashion Section Page 107
Author: Anna Perczynski
N o 1
SCANDI STYLE
IS THE NEW
PARISIAN CHIC
Image: Imaxtree
For years Parisian chic has been what everyone was striving
to achieve. This has been changing lately with more and more
people aspiring a Scandinavian style. The hygge mentality, as
well as the minimalistic design approach, has been influencing
interior design and lifestyles for a while already. Now we’re
also turning to the north of Europe for style inspiration.
The transition from Parisian to Scandinavian style has been smooth and quiet. One of the reasons
is that both styles have similar elements such as simplistic but effective cuts (the best example
is a well-tailored blazer) and mixing together masculine and feminine pieces. The neutral, beige
looks that have been dominating street style fit both being classy and chic as well as easy to put
together. A big difference is undeniably made by adding colour to an outfit. While Parisian chic
is all about black and navy, Scandi style doesn’t shy away from colours - on the contrary! Some
outfits may start with neutral staples in black or beige, but you can always expect to find a pop
of colour or an exciting pattern somewhere. Other Scandi outfits are an explosion of colour:
Think green polka dot skirts paired with yellow sweaters, patterned dresses with purple tights or
neon blazers with casual jeans and t-shirt. Outfits held in one colour only are just as common as
outfits that combine red and pink garments.
When one visits Copenhagen they’ll notice
that the locals all seem to wear the same
chic uniform which consists of wide-leg
pants or a midi print skirt paired with a
turtleneck sweater and an oversized blazer
or trenchcoat. Everyone wears a variation of
this outfit and everyone pairs it with chunky
sneakers and a tote bag. For accessories,
they opt for bucket hats, scrunchies, hair
clips and the occasional pearl necklace.
Apart from colours and patterns, the perhaps
biggest difference between the styles is
their mentality and the resulting approach
to fashion. Parisiennes are effortless and
untouchable, while Scandinavian women
are comfortable but still put together.
Parisiennes are the epitome of coolness,
but Scandinavians are visibly happy.
They have fun experimenting with colours
and textures while keeping in mind that
comfort is key. This just goes on to show
how much fashion is impacted by what’s
moving the world, as self-care and selfawareness
are bigger topics than ever before.
Image: Søren Jepsen

The Miuse Editorials
108
N o 1
APage
DE
J
PHOTOGRAPHY: OLIVIA BOSSERT.
EDITOR & STYLING: ERIKA HANSON.
HMUA: ABIGAIL LEMAR - USING IT COSMETICS.
MODEL: JADE VAN KOOTEN.
ASSISTANT: BETHANY CROWLEY.
SET DESIGN: PERMINDER DHILLON.

On This Page: Jade wears
ASOS EDITION Dress,
and ZAABEL Mother Of
Pearl Earrings (Provided
by Mercer Keeble PR).
On Opposite Page:
Jade wears SOAKED
IN LUXURY Dress,
STYLIST’S OWN Bag,
ASOS DESIGN Boots, and
ZAABEL Wrapped Pearl
Earrings (Provided by
Mercer Keeble PR).

Jade wears HUISHAN
ZHANG Lola Top, ASOS
DESIGN Trousers, SIMMI
Heels, and ZAABEL Gingko
Earrings (Provided by
Mercer Keeble PR).

Jade wears WEEKDAY
Trench Coat, and
Z_CODE_Z Heels.

On This Page: Jade wears
KEEPSAKE Dress, ASOS
DESIGN Boots, STYLIST’S
OWN Belt, ZAABEL Pearl Inlya
Necklace (Provided by Mercer
Keeble PR), and ZAABEL
Gingko Earrings (Provided by
Mercer Keeble PR).
On Opposite Page: Jade wears
HUISHAN ZHANG Ana Jacket.

On This Page: Jade wears
RONNY KOBO Dress, and
ZAABEL Gingko Earrings
(Provided by Mercer
Keeble PR).
On Opposte Page: Jade
wears SISTER JANE Dress,
ASOS DESIGN Boots, and
AURUM ASTERIAS Earrings
(Provided by Mercer
Keeble PR).

The Fashion Section Page 119
N o 1
50 YEARS
OF KENZO
For a house ONLY in its FIFTIETH YEAR, KENZO has quite the story to tell—
and seeing as we are all currently going stir-crazy in lockdown, now seems like
a particularly good time to tell it. The story BEGINS in 1950S JAPAN.
Our PROTAGONIST? An aspiring YOUNG DESIGNER named KENZO TAKADA.
Image: Anne-Christine
Poujoulat.

Author: Rebecca da Silva
Page 120
As a child, he would spend hours on end reading
his sisters’ magazines. Takada was always fascinated by
fashion, but it was not in his blood—strictly speaking,
hospitality was. His parents ran a small hotel in the city
where he grew up. They were fervently against the idea
of him moving into fashion, and they were not the only
ones. Men were not even allowed into design schools
at the time. But one lifted ban and an art education
later, Takada moved to Paris—with big dreams, some
Japanese textiles and not a lot else. Very quickly, that
decision started to look more like folly than pluck. Paris
was not the cobbled, Chanel-scented city Takada had
imagined. (Paris Syndrome, in case you ever need a
label for it. Look out for nausea, sweating and crippling
disappointment). Things were not looking much rosier
for Takada’s fashion career either. After six months,
he completely ran out of money and started selling his
sketches for 25 francs a piece, which was as cheap then
as it sounds now.
In 1970, everything changed—at a flea market, of
all places. Takada bumped into an old lady who had a
space in the Galerie Vivienne up for rent. It was small
and rundown, but a boutique in Paris nonetheless.
Takada took it on, completely transforming the interior.
He cited Henri Rousseau’s painting ‘The Dream’ as
his inspiration. The boutique’s exterior underwent a
makeover, too—under the brand’s original name of
‘Jungle Jap’. Simply ‘Kenzo’ came into effect in 1976,
making it easier to sell in other markets. His earliest
garments were all hand-sewn, combining textiles
from Marché St Pierre with the fabrics he had brought
with him from Japan. The result was an eclectic mix
of plaids, flowers and exaggerated proportions that had
not really been seen before, certainly not in Western
fashion. It was an approach born of necessity—he was
broke until he made it big—but it is ultimately what gave
Kenzo its enduring legacy.
Fashion shows in circus tents, entrances made
on elephant-back—Takada did it all in his early career,
and quite often, years before anyone else. He staged
ready-to-wear shows during couture season before
the concept of ready-to-wear was even recognised. In
another pretty impressive first, Kenzo adopted a seenow-buy-now
model decades ahead of the wider
industry.
After retiring and then returning to his eponymous
fashion house for a short while, Takada decided to start
a completely new venture. In January 2020, ‘K3’ was
born. A luxury home and lifestyle brand, selling chairs,
tables and rugs that are every bit as vibrant as you would
expect. The Kenzo brand is currently headed up by the
Portuguese designer Felipe Oliveira Baptista. His debut
collection for the brand garnered a lot of attention during
Paris Fashion Week just gone. Not least because it was
the women’s week he chose, not the men’s—going
against the tradition set by his predecessors. With things
as uncertain as they currently are, who really knows
what the future holds—but it is probably safe to say that
Kenzo is not done making history just yet.

The Miuse Editorials Page 121
N o 1
IT’S
A
GIRL
THING
PHOTOGRAPHER: SANDRA SEATON (@SANDRASEATON).
STYLIST: EMMA LANE (@EMMALANESTYLIST).
MODEL: ELLA @ MILK MANAGEMENT (@ELLABELLAMODEL).
PHOTOGRAPHER: SANDRA SEATON (@SANDRASEATON).
STYLIST & CLOTHES: COUMBA @ ANTI AGENCY (@SAVEQUIMBA).
MODELS: COUMBA @ ANTI AGENCY (@SAVEQUIMBA).

On This Page: URBAN
BEHAVIOUR Plaid Shirt,
VINTAGE PANOMI
Beige Skirt, and
VINTAGE Pink Cardigan.

On This Page: VINTAGE
NICOLE FARHI FOR
STEPHEN MARKS Grey
Jacket, and VINTAGE Tutu.
Opposite Page: TOPMAN
Leather Jacket.

On This Page: TOPMAN Leather
Jacket, WEEKDAY Jeans, and
GANNI Boots.
Opposite Page: URBAN
BEHAVIOUR Plaid Shirt,
VINTAGE PANOMI Beige Skirt,
and VINTAGE Pink Cardigan.

Politics & Activism
N o 1
Page 127
Fashion
& Politics:
MAKING
A
STATEMENT
Photo by Reg Lancaster

Author: Nathan Quesada
Page 128
IS and SHOULD FASHION be POLITICAL?
For many, fashion is one of the greatest forms of
escapism. The ultimate fantasy. It does not get more
magical than watching the layers of tulle on a couture
Giambattista Valli gown float down a Parisian runway.
These imaginative experiences are a much-welcomed
break from reality. A creative breath of fresh air. Yet,
fashion is much more than champagne and sequins.
Fashion is the epitome of politics. As we dive into the
context of the industry’s most notable collections and
fashion houses, the social implications of a garment
become more intricate and complex than the design
itself. Clothing is an outward expression of history
and societal values. Trends capture the zeitgeist of a
period. The cinched waists and lavish silhouettes of
Christian Dior’s “New Look” exemplified the traditional
feminine ideals of the post-World War II era. The
looks’ soft aesthetic and impractical design elements
encompassed the expectations of conventional
gender roles. Yet, revolutionary design evolves with
time. Almost 20 years after the “New Look”, Yves
Saint Laurent released the iconic “Le Smoking Suit”.
The sleek tuxedo jacket and impeccably tailored
trousers embodied feminist ideals that challenged
the separation of social spheres and standards of
femininity. Whether we realise it or not, we subscribe
ourselves to the trends hanging in our closets. Cultural
values are embedded into every fibre of fashion. While
politics are dissected through the historical context of
our favourite legacy brands, present-day designers are
taking a far less subtle approach. Politics have become
a fashion statement and contemporary brands are
making it loud and clear. Activism has become a core
component of the brand identity of designers across
the board.
From social justice to environmental crisis concerns,
brands are using their platforms to amplify controversial
political issues that resonate with them the most.
Yet, much like every other industry, fashion is a
business. This poses the question, when does brand
activism become a money grab? Many times, buzzworthy
topics become a trend. Here one season,
gone the next. Dior’s Spring 2017 “We Should All Be
Feminists” T-shirts retailed at $710. Not only does
the inaccessible price point contradict the slogan
but, consumers are given no indication as to how the
profits from their purchase are being used. This ingenuine
brand messaging is a result of exclusivity and
lack of transparency. On the other hand, brands like
Marc Jacobs have mastered the art of political fashion
statements by putting their money where their mouth
is. Jacob’s has established a recurring partnership with
Miley Cyrus, an outspoken supporter of women’s
rights. Together, they have partnered with Planned
Parenthood to create garments that evoke empowering
pro-choice messages. The first collaboration included
a $50 T-shirt while the newest release is a $175 pink
hoodie that reads “Don’t Fuck With My Freedom”.
The inclusive price point allows people to wear their
beliefs while 100% of profits go to Planned Parenthood.
While Jacobs is a great example, he is only one of
many designers using creativity to start important
conversations. Fashion brands have extensive
platforms that reach most of the general public. If
their influence is used responsibly and authentically,
brands can become essential resources. While politics
have become a major branding component, political
statements must be more than a marketing tool. These
are real problems affecting real people. The fashion
industry’s prominence gives it the ability to amplify
the voices and concerns of the communities it serves.

Lucy wears a FAITHFULL
THE BRAND Dress.

The Miuse Editorials
N o 1
Page 130
SUMMER in
WINTER
PHOTOGRAPHY AND STYLING: OLIVIA BOSSERT (@OLIVIABOSSERT).
HS: ZEB GETHEN (@ZEBRAFINCHHAIR).
MUA: CHARLOTTE ALBERT (@CHARLOTTEALBERT.MAKEUP).
MODEL: LUCY COLE @ BASE MODELS (@LUCYCOLEEE).

Lucy wears a
KEEPSAKE Dress.

Lucy wears a FAITFULL
THE BRAND Dress.

Lucy wears a FAITHFULL
THE BRAND Dress.

Luxy wears a
KEEPSAKE Dress.

Luxy wears a SISTER
JANE Dress.

N o 1
Politics & Activism Page 137
A BOLD
STATEMENT
FASHION’S
RELATIONSHIP
WITH POLITICS
Photo: Courtesy of Vivienne Westwood
“Fashion is not something that exists in dresses only. Fashion is in the sky, in the street. Fashion has
to do with ideas, the way we live, what is happening”. Coco Chanel’s notion was that fashion wasn’t purely just
about glorious fabrics and radical new designs, but about capturing the zeitgeist of the moment. In turn, this
inevitably meant that fashion would become intertwined with politics. With runways across London laying desolate
this summer as the city’s Fashion Week goes digital in response to COVID-19 related lockdowns, fashion remains
entangled with current political affairs. But this isn’t all, as the British Fashion Council adapt to the unprecedented
times, they’ve also taken a bold move to question the social and political boundaries of the fashion industry by
making the event gender-neutral.

Author: Tom Legg
Page 138
With London Fashion Week tweeting “who makes the gender
rules?”, the organisation is perhaps rubbing shoulders with
the world of politics once again. Although we see individual
designers often present shows containing elements of sociopolitical
activism, a move like this from the BFC begs the
question, how politicised is fashion? The answer can partly be
found on the runway, which is no stranger to fashion activism.
This especially reigns true for the shows of Autumn/Winter
2019. Over in New York, the heightened socio-political
climate in America meant the city’s 2018 Fashion Week was
rife with social commentary. Founder of Pyer Moss, Kerby
Jean-Raymond debuted a collection dedicated entirely to
the excellence of Black Americans. But although some looks
focused on “just black people doing normal things”, illustrated
by bright images of black families, this was juxtaposed with
slogans and graphic pieces referencing police brutality and
the ongoing fight against racism in America.
It’s not always the garments that function as an implicit
political statement, but the performance of the shows
themselves. Tom Ford sent his FW19 collection down the
runway accompanied with the Crowded House song “Don’t
Dream It’s Over”. With the lyrics: “They come, they come/
To build a wall between us/We know they won’t win”,
chiming a day after President Trump’s State of the Union
speech in which he ordered the southern border wall to be
built, Ford was unapologetic about his political standpoint.
However, subliminal messaging evocating political issues isn’t
the only way to get bold socio-political statements across to a
mass audience. Katharine Hamnett is perhaps best known for
meeting the UK’s then-Prime Minister Magazine Thatcher
whilst wearing her printed t-shirt that read “58% DON’T
WANT PERSHING” in scrutiny of Pershing missiles being
based in the UK.
She’s continued to enmesh her collections with political
affairs in her runway shows with catwalk models wearing
“STOP WAR, BLAIR OUT” in 2003 and releasing a
menagerie of slogan t-shirts on her website. Most recently,
Activists4Grenfell display at LFW in February of last year
was reminiscent of Hamnett’s slogan t-shirts, demanding
justice for the victims of the Grenfell Tower fire in 2017. The
simplistic approach to social commentary during fashion
week is perhaps the best approach when mixing fashion
and politics. This is something that was perhaps lacking in
Vivienne Westwood’s FW19 runway, being critiqued by Sleek
fashion writer Angela Waters who suggested: “Certain issues
like wealth inequality, starvation and critiques of consumerist
culture can look a bit tone-deaf on an 80-euro t-shirt”.
Vivienne Westwood’s attempt to fill an entire collection with
an abundance of differing political statements subsequently
became overwhelming and diluted the messaging completely.
With monologues from models, criticisms of climate change,
Hollywood and politicians, she exhibited how fashion can
often become too entangled with politics. But whether
effective or not, when it comes to making any bolshie fashion
statements, the clothes and performance can only take us so
far.
It’s key to remember that although making noise is essential to
make a change, we need to follow it up with putting pressure
on those who govern our society. Fashion’s relationship with
politics doesn’t always originate from the runways, instead,
fashion is sometimes utilised by social groups as a uniform
for protest. One of the most prominent examples of protest
dressing was the punk movement of the 1960s and early
1970s. As anti-establishment views grew throughout the
1960s, so did non-conformity to mainstream fashion. The
conservative tea dresses of the 50s were replaced with leather
jackets and jeans, embellished with safety pins and other metal
modifications to mirror the angsty nature of the movement.
Around the same time as the punk movement, Huey Newton
and Bobby Seale co-founded the Black Panther Party. The
organisation patrolled neighbours to monitor and challenge
the unfair treatment of African-Americans by the Oakland
Police Department and in turn, became an influential black
movement organisation.
Distinguishable by black leather jackets, berets and afros,
the BPP’s unofficial uniform is a significant way the party
is remembered today. These uniforms still symbolise Black
Power even today, with Beyoncé paying homage to the party
and aligning it with the Black Lives Matter Movement at the
Superbowl 2016 halftime show. Though we are yet to see the
level of anarchism caused by punk fashion in recent times,
the concept of protest dressing is still present today. Probably
most recently is the Pussyhat Project, created by Jayna
Zweiman and Krista Suh. Fashioned as a response to the
deplorable comments made by Donald Trump about freely
grabbing women’s genitalia, the hat was a common sight at
the 2017 Women’s March in Washington DC.
Fashion is inherently political; from what we wear to how we
wear it. Whether it’s on the runways or in our wardrobes,
fashion has always had ties with political change and works
as a perfect ally for protest. But in reflection, the question
shouldn’t be ‘how politicised is fashion’, it should be whether
it is politicised and effective enough to orchestrate real change.

Politics & Activism
N o 1
Page 139
DOES
FASHION STILL
HOLD A
MEANINGFUL
ROLE IN
ACTIVISM?

Author: Chloe Evangelista
Page 140
WE MUST KEEP A VIGILANT EYE ON WHETHER BRANDS ARE
ABOUT CAMPAIGNING OR JUST MORE CONSUMERISM.
Beyond ticking boxes in a ballot once every five
years, taking to the streets may be the only way for
people, especially those who are disadvantaged, to
exert influence over politics. Protests are not just
mere gatherings of the aggrieved but are means that
can prompt government actions through expressing
collective concerns. In the bigger picture, clothes
may seem to play a trivial part in a protest, but the
last century witnessed a fascinating development of
fashion as an accessible medium to make political
statements. Fashion at the start of the 1910s became
a powerful instrument for brand building when the
suffragettes adopted the symbolic colours white,
purple, and green in their clothing and accessories
to further their cause. During World War II, French
women wore turbans to passively resist the Nazi
occupation and to sustain the French morale. Hats
became a symbol of liberty for 1940s France until
they won their independence from their oppressors.
Similarly, the 1963 March on Washington saw civil
rights protesters dressed in their Sunday best (women
in skirts and dresses; men in suits and ties), adorned
with respect and dignity, and demanding to be taken
seriously. The LGBTQ+ community has had fashion
as their ally in expressing not just their sexuality,
but also their defiance of oppressive gender norms
and cultural expectations. Since the 70s, annual
Pride events have long served as a place for both
celebration and protest, and fashion has always been
at the forefront of the parades, drag pageantries, dance
parties, and rallies. The use of clothing to convey
political messages became more prevalent than ever.
Fashion’s declarative capacity indeed makes it an
accessible site for public dialogue regarding political
and social issues. This capacity has long been
understood and cultivated by the fashion industry.
In the mid-70s, Vivienne Westwood caught the
attention of British newspapers when she released a
collection of radical designs including punk-themed
pieces, fetish accessories, and shirts with anarchic
prints and Karl Marx patches. Fellow Brit designer
Katharine Hamnett pioneered protest slogan T-shirts
when she wore her infamous ‘58% Don’t Want
Pershing’ shirt to Downing Street, to meet Margaret
Thatcher in 1984. Recently, Hamnett has released
topical designs emblazoned with statements such as
“Cancel Brexit” and “Vote Trump Out.” Westwood has
been consistent with weaving activism into her work,
undertaking a series of campaigns including staged
protests inaction on climate change and consumerism
at her fashion shows. In these intolerable times, more
and more fashion creatives are doing the same – or
at least attempting to. Over the last two decades,
designers including Miuccia Prada, Rick Owens, and
Jeremy Scott have consistently used the runway to
express their views on issues such as gender and
racial equality, diversity, and on the current political
climate. Rising New York-based designers Kerby
Jean-Raymond (Pyer Moss) and Prabal Gurung have
been taking their platform to new heights by making
statements on immigration and police brutality. The
collaboration of fashion and activism has led to
an example of real change when Stella McCartney
educated her audience and influenced the industry
with her environmental advocacy, pioneering the use
of sustainable materials and refusing to work with
brands who don’t do the same. At her latest show,
she sent models in animal costumes down the runway
to make a statement about animal cruelty and fur
usage in fashion. McCartney’s actions disprove the
abstractness of fashion’s capacity in bringing about
change. But for other brands, a question will always
rise as to whether they are about campaigning or just
more consumerism.
Continued on Page 141

Author: Chloe Evangelista
Page 141
Image: GETTY IMAGES
At his SS15 Chanel show, Karl Lagerfeld garnered both
praise and criticism for holding a ‘feminist’ protest
reminiscent of the Women’s Liberation Movement.
The runway was filled with models holding placards
that read “Ladies First,” “Women’s Rights Are More
than Alright,” and “History is Her Story” while chanting
through Chanel-branded megaphones. The fauxprotest
was censured as somewhat hypocritical given
Lagerfeld’s publicised body-shaming comments. It
is ironic to hear feminist messages from an industry
known for objectifying women and glorifying a
stereotypical beauty ideal. Thus, it has critical to take
a closer look at whether brands are truly invested in
the cause or just following another passing trend. This
is something Maria Grazia Chiuri has also recently
been accused of doing. Since taking over Dior in 2016,
‘feminist’ statements have been the centrepiece of
Chiuri’s collections. From the SS16 ‘We Should All Be
Feminists’ tee to the FW20 show decorated with giant
signs of the word “Consent,” the fashion industry is
demonstrating an undermining of the important work
of protest by reducing a movement into an aesthetic.
Today, where everybody cares about being ‘woke’
more than ever, the mix of business and ethics seems
to be the new defining trend of success in the industry.
The danger behind this is that being seen to care might
begin and end at that. Brands have become savvier
in marketing to consumers’ social consciousness that
publicly labelling themselves as ‘woke’ can be just as
commercially effective as actually committing to real
change. In the wake of this is a dilution of messages that
promotes more ignorance in the face of critical issues.
Whether it is a Stella McCartney faux-fur coat or a
Dior T-shirt that says “feminism,” clothes do hold a
communicative ability that ignites public discussion.
Fashion can still serve as a meaningful statement for
movements, but if the industry stays irresponsible over
delivering the meaning, it might just end up aligning
itself with the forces that exploit them. And as wearers
of these statements, we are just as accountable.

The Miuse Editorials Page 143
N o 1
ITS IN THE DETAILS
Photographer: Morgan Roberts (@shotbymr).

On This Page: ROLEX
DATEJUST WITH
DIAMOND BEZEL.
Opposite Page:
VINTAGE EARRINGS.

On This Page: VINTAGE
GOLD AND PEARL
BRACELET, and BOODLES
RAINDANCE DIAMOND
RING.
Opposite Page: CHANEL J12
WATCH DIAMOND FACE.

On This Page: VINTAGE
PEARL AND ROSE
GOLD NECKLACE.
Opposite Page:
VINTAGE EARRINGS.

On This Page:
FANNY INSERRA
EARRINGS.

On This Page:
CHANEL J12 WATCH
DIAMOND FACE.

N o 1
World Current Affairs Page 151
FASHION’S
RESPONSE TO
COVID-19
Photo by Piotr Stoklosa

Author: Nathan Quesada
Page 152
COVID-19 has affected millions around the globe.
Because the Coronavirus has caused disruptions
worldwide, now more than ever is the time to stand in
solidarity with one another. Although fashion is one of
the many businesses that have taken a hit, the industry
has stepped up to the plate in aiding the communities
that they serve. Fashion brands big and small have
embodied the ideals of corporate social responsibility
by acting as resources for those who need
it most.
A lack of essential personal protective
equipment is a pressing concern for healthcare
professionals. Fashion houses are utilizing
their production capabilities to increase the
availability of necessary PPE for those on the
frontlines. Major conglomerates like LVMH
and Kering are using their brands’ facilities
to help provide the necessary equipment.
Louis Vuitton’s French ateliers are being used
to produce hundreds of thousands of face
masks. Sister brands Dior and Givenchy are
using their perfume and cosmetics sites to produce and
deliver hydroalcoholic gel to French health authorities
for as long as it is needed.
Similar efforts are seen at Kering as Balenciaga, Saint
Laurent, and Gucci have also transformed a number
of their workshops in order to manufacture and donate
millions of masks and medical overalls. Many other
designers are following suit including Giorgio Armani
and Christian Siriano.
On top of utilizing the production capabilities of their
supply chains, many brands are offering monetary
donations. Ralph Lauren has committed £8 million
to Coronavirus relief. While a portion of the fund will
be donated to health organizations such as the WHO,
Ralph Lauren is providing grants for its colleagues facing
special circumstances. The brand has also donated to
Vogue and CFDA’s “A Common Thread” fashion fund.
FASHION BRANDS BIG AND SMALL HAVE
EMBODIED THE IDEALS OF CORPORATE
SOCIAL RESPONSIBILITY BY ACTING AS
RESOURCES FOR THOSE WHO NEED IT
THE MOST.
The program aims to provide the necessary financial aid
for those affected by the Coronavirus in the American
fashion community. Applications are available now
through April 19th and reviewed on a rolling basis. With
independent business owners facing a great deal of
uncertainty, brands like Pyer Moss have focused their
relief initiatives on supporting small creative businesses.
Plus, the legal firm that the brand works with is offering
free services to small businesses facing legal challenges
during this unprecedented time.
As we’re all collectively practising social distancing, our screen time is most likely reaching new heights. With an
increase in streaming and scrolling through Instagram, now may seem like the perfect time for content creators
to engage with their audience. Yet, creators across the board are struggling with the kind of content they should
be releasing during this time. Does anyone really care about your must-have skincare products in the midst of a
global pandemic? While it’s important not to be tone-deaf to the current climate, people are still looking for ways
to entertain themselves. It’s possible to acknowledge the greater issue at hand while providing your audience with
an escape. For its April issue, Vogue Italia printed a completely white cover as a symbol of respect, rebirth, and
hope. The issue is filled with editorials created at home including photos shot and styled over FaceTime with Bella
Hadid. Influencers alike have been using their platforms to support the cause wherever they can. Danielle Bernstein
(@weworewhat) is donating a portion of each purchase from the launch of her new denim line to provide meals for
healthcare workers through Feeding People (@feedingpeople.ig). Others are donating revenue from AdSense and
affiliate links while sharing organizations who are doing important work. As we continue to go through the motions
it’s important for all of us to be mindful and conscious of the content we’re putting out and consuming.

The Miuse Editorials Page 153
N o 1
THE
After
HOURS
Photography - Iona Chavela (@ionachavela).
Styling & Art Direction - Ivanka Wu (@ivanka.wu).
Makeup & Hair - Deviana Iwan (@devianaiwan).
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Special thanks to - Hanna Bella (@hannabellajuly).

World Current Affairs
N o 1
Page 171
THE
FABRIC
OF
SOCIETY
ART AT THE BACKDROP OF GLOBAL CRISIS

Author: Myriah Spidalieri
Page 172
It is hard to imagine how we will be remembered
throughout history. This point in time is sure to be a
topic of conversation, and it is impossible to ignore
the future implications of the global pandemic that has
darkened this year. When we look back to the past
for answers, we often ignore the complex journey
that humanity has faced at different moments in our
existence and, instead, jump to the points of our own
inquisitions. Although we are capable of critical thought
when it comes to the world around us, we tend to
forget the importance of context in our everyday lives.
However, in times of trouble, we are often forced into a
change of pace that immediately alters our perception
of life as we know it. Given the opportunity to slow
down, things that we typically view as essential fade
into the background, and more foundational principles
are allowed into the light. What we lose as a result of
global crisis should not always outweigh one crucial
thing we often gain: an insight into the importance
of the “unimportant” world around us. So, where do
we turn when the world falls apart? Where do we run
when we crave escape? What helps us remember
how we felt at every moment through our long and
troubled history? Only artists know the answer.
Up until the breaking point, we listen to the world
when it tells us to focus on money, influence, and
success above all. It’s hard to break our focus when
everyone around us says to stay our course. But in times
of global crisis, when we are forced out of our routines,
we cannot help but lean on the lighthearted mediums
that are so often branded as “useless,” “unimportant,”
or “insignificant” by the controlling facets of society.
But art, as an institution, exists as a lens of expression
that often leads to great understanding – an effect that
is crucial in times of struggle. Amidst the backdrop
of global crisis, the fabric of society is compiled of
creatives who work to translate society into a readable,
accessible, and emotional vessel. Through them, we
find ourselves in words, videos, photos, and fashion.
Through creatives, we connect more deeply to the
world around us. We process our emotions through the
perceptions of others, and find our own outlook in the
process. Art inspires and motivates; art connects us at
the cores of our existence. At the brink of global tragedy,
art reminds us that when passion is allowed to flourish,
we can reach beyond convention and into the social
consciousness. When we look back at history through
the artist’s lens, we feel the event in tandem. How
long, then, would it take for us to feel for each other?
Art carries significant moments forward and solidifies
their impact in our understanding of the world. How
often do we remember historic details through the art
associated with them? How often do we remember
the cultural impact of history before the actual event
itself? Perhaps, when we look back on these times
filled with fear, uncertainty, and distress, we will refer
to art as a cultural coordinate to help us understand
the thoughts, beliefs, and behaviors that we once lived
through together. This is not a revolutionary practice,
but we, as humans, tend to forget the impact of
creation in our everyday lives. Yet, art’s influence lives
on around us, and we recognize its inherent importance
when we associate it with significant societal moments.
Outstanding events throughout history are intrinsically
linked to song, dance, words, and images that all
signal us back to the emotions felt by humanity during
these times. As early as cave drawings, humans have
influenced society with art, while also revealing important
truths about life, culture, and people at specific points
in time. Leonardo da Vinci revolutionized the study of
human science with his anatomical sketches, but it is
not difficult for us to infer how controversial his work
must have been at that moment in history. To expose
the intricacies of the human body before the eyes
of laymen encouraged an emotional response from
supporters and adversaries alike. But it was through
these emotions that people were educated, and a
change of perspective was fostered in the process. In
this way, art represents an accessible way for humanity
to digest complex ideas, and we look to art to
understand the people, society, and ideals of its time.
Only then, when we have understood the emotional
perspective of events, movements, and paradigms,
can we effectively dedicate our passion to any cause.
We will undoubtedly mark our own era of history
with the rise of political revolution, but it is our creative
response that will be remembered. At the very least,
the passion that art inspires promotes a sense of
understanding that encourages us to stand behind
movements, events, and people that encourage
this passion within us. Through art, we make sense
of our existence and find our purpose through
emotion. It will be impossible for us to separate our
existence from the art that compiles it. In our future,
we will remember feminist slogans, hashtags, and
protest signs; we will remember fashion statements
on either side of these movements; and we will
remember our own, individual contributions to them.
Continued on Page 173...

Page 173
Photo by @samglennonphotography on Instagram.
Caption: “a continuation of my covid 19 fashion
project ... define “face mask””
Continued from Page 172...
We will remember art alongside these events, and, in
turn, we will carry on the legacy of our own points in history.
In these times of struggle, the global rise of COVID-19
has driven us back to our most basic, human principle
– to create. Through different mediums, both innovation
and humor will color our memory of this moment in
time. To root this assertion in reality, Music Business
Worldwide reports that the video app, TikTok, saw
an 18 percent increase in downloads from March 16th
to March 22nd, bringing the total amount to around 2
million downloads in just seven days. Overall, for the
month of March, a 27 percent increase was recorded
on the app, compared to 6.2 million downloads in the
month of February alone. Subsequently, our desire to
create art is just as aggressive as our desire to consume it.
Streaming giant, Netflix, saw an almost 96% increase in
stock overall, compared to its 2018 statistics, and a 14%
rise just this year. Evidently, more time at home means
a return to mediums typically associated with mindless
entertainment, but to degrade such modes of enjoyment
is to devalue the effect of art on society as a whole.
Photo by @vlada_goldie on Instagram.
Caption: “Dressed for work #coronavirusfashion”
Art celebrates emotional expression in a way that
empirical society has shunned, much to the detriment
of our collective social consciousness. In this way,
artists and creators like producers, writers, influencers,
and even TikTok celebrities contribute to the wellness
of our global community. When we are allowed to
slow down, we gather around our passions and unite
in a common cause. In times of trouble, to revel in the
simple pleasures of life is radical, but to rally around
creatives is nothing if not natural. When we look back
in retrospect, I hope that we will not forget who we
turned to most in times of trouble. I hope we will
not forget that artists have always been the voice
of change, and if not this, then the voice of solace.
I hope that we will not forget them when the dust
settles, and we have nothing left to do but begin again.

The Miuse Editorials Page 174
N o 1
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The Digital World
N o 1
IN
SUPPORT
OF THE
ANTI
IT-GIRL
We all know her; we all love her; we all follow her.
The quintessential “it-girl” floods our feeds and draws
our interest to every corner of the internet. To some
extent, she fills our minds with the fantasy of potential
fame. Our instant access to the cool and colorful people
we have come to know, intimately, through our sixand-a-half
inch screens is a feat with unprecedented
consequences – some good and some bad. But, in all
fairness, where’s the harm in watching someone else’s
life unfold? Where’s the harm in wondering what the
“it-girl” has to offer? Social media platforms, and the
influencers who dominate them, play essential roles
in our lives of aspiration and escapism that we rarely
encounter in any other medium. In our technological
age, digital media has allowed us to connect with
individuals in such close proximity that, at times, it can
feel like we are living life alongside the most celebrated
people in society. Through these platforms, contact
with celebrities has become an everyday occurrence,
and our constant interaction with influencers and their
content really does influence our life as we know it.
Aside from some very serious critiques surrounding
mental health and self-esteem, social media has proven
to be an essential tool in the growth and success of not
only brands, but people as well. Our constant access
to those we deem worthy of our gaze has pushed
our society and culture to evolve under the looming
presence of those in the public eye – or, has it? Has the
“it-girl” influenced us more than we have influenced her?
Perhaps, it was us who put her on this pedestal all along.
There is no doubt that our present society is
ripe with creatives who are more than deserving of
their success. But, for an industry that thrives on the
actions and interests of the larger populous, social
media doesn’t give us a lot of love! We, the masses,
drive the content we see around us, and people live
their lives based on what we want to see. With a global
average of approximately 144 minutes per day spent
on social media in 2019, it is not hard to imagine that
many of us rise way above this statistic. It is also not
hard to imagine that, given our extensive time spent
on platforms like Instagram, Twitter and YouTube, our
consumption influences content creators to appeal to
us in a meaningful way. After all, a reported 72% of
“Gen Z” and millennials follow some form of influencer,
all who actively participate in the rush to create what
we want to see. A whopping 88% of this same group
value authenticity and interest in influencers above all.
Where, then, does the notion that we are somehow
less important than the people who strive to impress us
on a daily basis originate? With an enormous amount
of respect for people who can curate and execute
specific visions that appeal to a broad spectrum
of individuals, it is still important to understand the
nuance of the influencer/influencee relationship.
The people that we have chosen to brand as
“important” actually thrive on the consumption and
tastes of the masses. At first, this may present as a
complicated notion, but it is actually quite simple.
So long as we still have some command over what
we like, dislike, and love in this world, we still have a
firm grasp on who and what can flourish in our own
society. In this way, the anti “it-girl” takes her place
in the forefront of influence and culture; she – no, we
determine what comes next and what’s here to stay.
This effect is extraordinary in its essence, as the minds

Author: Myriah Spidalieri
Page 182
of so-called “ordinary” people are revealed to be the
most extraordinary examples of the human condition.
“Ordinary” people are the pinnacle of influence and
importance in our modern age. Through their vast
investment in the lives of celebrated individuals, regular
people solidify cultural paradigms and, therefore,
determine what and who is celebrated in the first place.
In these times of the ultra-wealthy and ultrafamous,
there is a grounding effect associated with
settling into your own persona. So, you’re not “big
online.” You don’t have a color-coded
Instagram feed or a massive fanbase
following your every move. Your
role, however, is just as significant!
Everyday people fortify society and
help to raise people, things, events,
and causes up into the limelight. Where
would we be without our attention,
appreciation, and input into the larger
social picture? Where would we be
without our unique contribution to
the world around us? We, the masses,
provide stable, supportive footing
for creatives and revolutionaries
in which to ground their missions.
Behind the curtain, we move the movers and shakers.
Unfortunately, being comfortable in this role can be
uncomfortable for most, especially for the generation
most likely to be affected by the online “it-girl”
movement. Don’t get me wrong, we love the “it-girl.”
We love to watch her videos and buy her products,
but we also love to imagine what it would be like to be
her. With this aspiration often comes a pressure to be
something other than ourselves, and it’s no wonder that
67% of millennials share in this “extreme” pressure to
succeed. This makes for a deadly cocktail that comes
with a multitude of side effects, and recent studies have
shown that the more time spent on social media directly
correlates with depression in young adults. In a world that
demands constant movement, originality, purpose, and
productivity, one of the most radical expressions of selflove
can be to simply slow down. Being comfortable in
our own mediocrity should not be a crucifiable offence,
TOGETHER, WE DRIVE
THE CONCEPT OF
HUMANITY
FORWARD, EN MASSE,
AND TOGETHER,
WE CREATE THE LIFE
WE WANT TO LIVE.
but rather, an act of resistance that further solidifies our
presence in this world. Although it is easy to forget,
your voice contributes to the greater fabric of our global
collective, no matter how quiet that voice may be.
Together, we drive the concept of humanity forward,
en masse, and together, we create the life we want to
live. The “it-girl” will continue to thrive, but so will we,
and that is something that should always be celebrated.

The Miuse Editorials Page 183
N o 1
BACK
IN
CAPE
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