Muse: Issue 02
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ON THE COVER
PHOTOGRAPHER: Lola Reinhardt, @llllooolla
MODELS: Kym Littlefield, @waitbutwho /
Darra Bunkasem, @soundsbydarra
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ISSUE 02
SPRING 2020
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04
EDITOR’S
NOTE
Dear Readers,
No words can describe the pride we feel when holding this
year-long labor in our own hands. After the release of our
inaugural issue last year, we had nothing but high hopes and
expectations for this year. Despite the challenges we have
endured, the determination and spirit the entire team had this
year was truly phenomenal. Thank you to my officers, Calvin,
Savannah, Tyler, and Janine, for leading another year and
being part of this legacy. And thank you to our successors,
Anastasia, Courtnee, Lola, and Athena, for braving the roles
and carrying the torch onwards. I can only imagine the leadership
and creativity you all possess to guide Muse towards its
success in the years to come.
Muse’s second issue celebrates subcultures within our communities.
Featuring niche groups of people, our contributors
discuss the interests, beliefs, styles, and ideals they share.
Each of us belong to unique subcultures, whether it is a way of
dressing, a career path, or a religion. They infiltrate our core
identity. Calling upon subcultures we personally belong in,
aspire to be in, or find fascinating, we have curated unique
perspectives across the board.
Our magazine strives to be more than the average trends
analysis and pop culture speculation. Each piece delves deep
into the relationship culture has with clothing. As readers, it is
our duty to do the same, and begin exploring our relationships
we have with our cultures and clothes as well. In an increasingly
globalized and connected world, our best interests also
lie in engaging and educating ourselves about others. Reading
snippets will never replace living someone else’s experience,
nor should it. As a medium between the creator and the
reader, this magazine is a form of connection and a stride
towards empathy.
As I step down from my position, graduate from college, and
enter the real world, I want to thank everyone who has supported
Muse. Over the years, we have honed in on our true
mission: fostering a community of creatives to collaborate on a
fashion magazine. Inevitably, innovative thinkers, creators, and
leaders are allowed opportunities to thrive. As a budding businessperson,
this organization has developed in me adaptability,
responsibility, and confidence. With Muse only in its infancy,
I leave behind a legacy. I truly believe fashion is more than the
clothes we throw on our body. More conversation is to be had,
and there now exists a platform to discuss it.
With love,
Kaitlin Yau
PHOTOGRAPHER: Tyler Flom, @tylerflom
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ISSUE 02: SUBCULTURES IN FASHION
CON-
TENTS
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08
10
16
20
Muse Playlist
Curated by Lola Reinhardt
Out with the Old, In with the Old
Written by Sonika Tayade
Hue
Photographed by Taiying Pusztaszeri
Runway Realism
Written by Jordyn Bryant
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32
38
42
Grime
Photographed by Lola Reinhardt
Gender and Fashion Intertwine
Written by Horatio Shine
Hybrid
Photographed by Shawn Lee
Hip-Hop Streaming Into Fashion
Written by Varun Rao
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52
58
62
68
Paradise
Photagraphed by Moniyat Chowdhury
The Clothing Rebellions
Written by Athena Benjamin
Glimmer
Photographed by Jasmine Wee
CTRL+ALT+FASHION
Written by Vivian Tran
Meet the Team
07
Launch Spotify, go to search, press the camera
icon, and scan this code to follow the playlist!
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I DON’T WEAR
THE SAME THING
EVERY DAY;
I DON’T LISTEN
TO THE SAME
MUSIC EVERY DAY.
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MUSE PLAYLIST
I don’t wear the same thing every day; I don’t listen to the same music every day. I’m
focused on experimentation. Why not wear something out of your comfort zone
because you never know what might be. Colors and silhouettes are always switched
up, and handmade pieces to one-of-a-kinds are staples in my wardrobe. My fashion,
music, and emotions are undeniably connected. The music I listen to and the clothes
I wear depend on my mood. I’ve created a playlist that encompasses songs from several
different genres. Experimenting with different sounds and clothes will help you
realize new things about your personal style and can even bring fresh meaning to
seemingly meaningless days.
Lola Reinhardt
In My Room, Frank Ocean
Eternal Light, Free Nationals
Holy Terrain, FKA Twigs & Future
I'm Just Snacking, Gus Dapperton
Midsection, KAYTRANADA
Cyanide, Daniel Caesar
Sandstorm, Mereba, JID
Photosynthesis, Saba
Hungry Hippo, Tierra Whack
Dreams, Fairytales, Fantasies, A$AP Ferg
Shea Butter Baby, Ari Lennox, J.Cole
No Idea, Don Toliver
Come Thru, Summer Walker
Poof, Pi’erre Bourne
M’s, Trippie Redd
Orange Soda, Baby Keem
Highest In The Room, Travis Scott
Juicy, Doja Cat
FlatBed Freestyle, Playboi Carti
Hot, Young Thug
Had Enough, Travis Scott
What To Do?, Travis Scott
The Box, Roddy Rich
Down Below, Roddy Rich
Been Around, RBN Cordae
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PHOTOGRAPHER: Silas Chu, @silas_shc
MODEL: Jaime Huckins, @jaimehuck
OUT WITH THE
OLD, IN WITH
THE OLD
Written by Sonika Tayade
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RETRO REPRESENTS STYLE THAT
IMITATES TRENDS, MUSIC,
AND ATTITUDES THAT ARE NO
LONGER MODERN.
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THE SKINNY
CAT-EYE
FRAMES.
THE CHUNKY
SNEAKERS. THE
WHITE BOOTS.
We’ve seen our favorite celebrities sporting
these fashion pieces, whether it’s at
high-profile events or simply on the
streets with their casual, model-off-duty
looks. These trends have one thing in
common – they’re part of a set of trends
making a comeback from the 70s, 80s,
and 90s. Today, we’re seeing a boom of
retro and vintage pieces in the fashion
world. Designers are integrating these
trends into the clothes they put out, and
consumers are excitedly reaching toward
them. Of course, such trends look great
when paired correctly and have the
potential to create truly novel looks. But
why do we love throwback fashion?
What’s the appeal of retro and vintage
trends, even for those of us who don’t
exactly have ties to the decades these
clothes were popular?
In examining retro and vintage fashion,
it is important to distinguish the two
terms. Retro represents style that imitates
trends, music, and attitudes that
are no longer modern. On the other
hand, vintage refers to an actual piece
of clothing manufactured in the past. In
other words, retro clothing doesn’t indicate
a specific time period a piece of
clothing was created, but instead allows
vintage trends to come back into our
fashion today.
The first reason retro trends might be
making a comeback today is as a
response to fast
fashion. We all
know the feeling
of walking into
Forever21 or
H&M and discovering
a great deal
for a great piece of clothing. Fast fashion
is the process of creating fashion trends
quickly and making them cheaply available
to customers. This new style of
manufacturing has become the new
trend. However, according to Marilyn
DeLong, a researcher in apparel design,
consumers might be looking for something
other than just mass-manufactured
garments. She believes that as shoppers,
we wish to create our own individual
identities and escape common
trends, which is achievable by wearing
both retro and vintage items of clothing.
This is especially applicable to vintage
pieces of clothing. In a research article
entitled, “The Rise of Vintage Fashion
and the Vintage Consumer,” a representative
from the British vintage store Little
Red Vintage stated that the underlying
themes of vintage clothing are “originality,
authenticity, and quality.” As we all
know, combining retro and vintage clothing
with contemporary pieces lets us
make truly novel looks. We all become
our own designer, and a “symbol of fashion
independence.”
There’s a piece of clothing that is a
prime example of our search for individuality:
mom jeans. According to a New
York Post article, mom jeans became
popular in the 1980s because they were
a reference of “starlet silhouettes.” Now,
we see ourselves wearing mom jeans
without batting an eye toward the trend’s
supposed “older” look. And according to
Jessica Morgan, the co-creator of a popular
celebrity style blog, she credits this
increased popularity of mom jeans to
their potential to make an outfit look
simply more interesting and unique.
Also suggested as to why we’re so
intrigued by trends from the past is
ON THE OTHER HAND, VINTAGE
REFERS TO AN ACTUAL PIECE
OF CLOTHING MANUFACTURED
IN THE PAST.
perhaps a fascination with past time
periods. Let’s face it - we’re surrounded
by a rapidly-changing environment. So
who can blame us if by focusing on retro
and vintage pieces, we are finding relief
from this environment and are attempting
to instead connect with the past?
Regardless of whether we have an
age-related connection to the past, we
may still view the 90s as an age of simplicity.
The past comes with a certain
nostalgia, and perhaps we are comforted
by the ability to grasp it.
Of course, there’s a huge contributor
to the popularity of retro and vintage
trends we’re constantly surrounded by.
Take social media, for example. Fashion
influencers achieve millions of followers
on social media, and these influencers
have the power to globally impact all
types of peoples’ perspectives on fashion.
Many of these popular fashion bloggers
and influencers are heavily falling
into vintage and retro trends. Many of
vlogger Emma Chamberlain’s aesthetic
Instagram pictures feature items such
as bell bottoms, retro striped denim,
and cat eye sunglasses. Blogger Kavita
Donkersley, who runs the blog titled
“She Wears Fashion” often documents
her love of vintage fashion. Aside from
social media, media such as film and
television often incorporate vintage and
retro fashion, once again increasing its
appeal. For example, the show Girl Boss,
featuring the founder of Nasty Gal,
vintage clothing is brought to the forefront,
emphasizing its unique and
stylish charm.
With consumers constantly turning
their head toward vintage and retro
pieces, there is one concept that plays a
huge role in retro and vintage fashion:
thrifting. We all
know the feeling
of finding that one
perfect shirt for a
great deal at the
thrift shop, and
the rush that
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PHOTOGRAPHER: Silas Chu, @silas_shc
MODEL: Cassie Collinge, @cassiecollinge
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Photography: Silas Chu / @silaschu
Model: Cassie Collinge / @cassiecollinge
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comes with it. Thrifting culture is a huge
part of the influx of retro and vintage
trends. At thrift shops, what sits on the
rack one day could be gone by the next.
Therefore, when consumers are at thrift
shops, they discover truly unique pieces.
That discovery of one of a kind vintage
and retro pieces at thrift shops leads to
an ability to create individualized looks.
And what we find at thrift shops isn’t
only fashionable, but affordable. Here’s
a motivating statistic: Carolyn Schneider,
author of The Ultimate Consignment &
Thrift Store Guide, says the average discount
on clothing in thrift stores is often
more than 50%. The combination of an
individualized shopping experience and
affordability makes thrift shops a highly
active player in the world of vintage and
retro fashion.
The fashion we see changes every
day. What is “in” one day may be “out”
the next. However, even in a state of
constant change, we can still hold on to
certain trends and styles we once considered
precious. Maybe this demonstrates
an ability to salvage what we can
of the past and bring it back even stronger,
to all different types of people. As
we peer into the future, it is highly probable
that vintage and retro trends will
continue to be a large part of our style.
The 2000s are already making their way
back into style through, for example,
crop top tanks, bedazzles, and low rise
jeans. Thirty or fifty years from now,
pieces from the 2010s will become retro
and vintage clothing. And again, this
cycle will continue. Yet, the current retro
and vintage trends will not vanish. As
these trends age, their charm simply
increases. Just as consumers cherish
the originality of incorporating their retro
and vintage pieces in their outfits today,
they will increase their love for these
older pieces. Vintage and retro trends
allow more creativity and diversity in
each outfit. The past doesn’t always
disappear; sometimes it finds a way
to reappear.
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PHOTOGRAPHER: Silas Chu, @silas_shc
MODEL: Josie Culp, @josieculp
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HUE
Photographed by Taiying Pusztaszeri
PHOTOGRAPHER: Taiying Pusztaszeri, @taiying.shoes
16 MODEL: Nicole Sanchez, @nicola.ayn
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RUNWAY
REALISM
Written by Jordyn Bryant
PHOTOGRAPHER: Silas Chu, @silas_shc
MODEL: Kurstin Dennis, @shesangelickurstin
20 FASHION SHOW: a.oei studio, @a.oei_studio
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T
here’s something captivating
about watching models strut
down runways in thoughtfully
assembled outfits as major fashion
houses use Haute Couture (custom-fitted
collections) and Ready-To-Wear
shows (standardized sizing) to develop
their brand’s image. Chic music, creative
hair and makeup, and lavish decor all
create a certain fantasy illustrating the
stories of each collection. This form of
artistic expression is what draws so
many people into the world of high fashion.
So yes, we all dream of wearing the
beautiful gowns, perhaps purchasing
a handbag off the runway, and maybe
even attending one of these glorious
The main difference
between those who
are able to sit in the
audience and those
who must watch from
home lies in one key
characteristic of the
individual: status.
shows. But in reality, many fashion
junkies are sitting in their room at 1:00
am watching Chanel’s glorious 2016/17
Métiers d’Art show for the third time
that week.
Who are the ones invited to these
shows? From the public’s perspective,
we recognize the faces of musicians,
actors, and social media influencers.
Within the fashion industry, there are
also corporate buyers, designers, magazine
editors, and online bloggers. So
it seems that only the elite, with fame
and high social status, are invited to
shows for reasons pertaining to profit
and popularity for the designer’s brand.
A brand’s image is perhaps its most
valuable characteristic. By associating
with those who have a large following
and strong credibility, fashion brands
are able to boost their own status by
creating invitation lists full of reputable
individuals. This select group of people
have a unique way of dressing, presenting
themselves, and interacting with
others while attending these shows.
Designers often gift and borrow outfits
to those attending their shows to further
promote their designs. Bloggers often
wear unique outfits to each show and
willingly change in nearby bathrooms
ac to meet these certain expectations.
These expectations guide a stronger
notion of “class” into a runway atmosphere.
Take the iconic editor-in-chief
of Vogue, Anna Wintour for example.
She has undeniably set the standard for
what’s to be expected of a runway show
audience member. Many emulate her
way of conducting herself with a certain
poise while expressing she’s intrigued
by the clothing being showcased. She
always attends shows wearing couture
ensembles by the specific designer
she’s experiencing. The audience
is expected to promote the designer
without distracting from the show itself.
These unspoken expectations limits who
is invited and chosen to represent the
brand at these shows. This constricted
demographic sheds light on the aspect
of exclusivity in the fashion industry: if
you’re in, you’re in.
Now this doesn’t mean that the
general public is not an integral part of
the runway community. Designers and
marketing teams specifically hire videographers
and editors to spread their
designs and creative narrative beyond
the walls of the show. The fast fashion
industry takes trends off the runway to
market to a wider audience and with
current platforms like YouTube, fashion
enthusiasts can watch these runway
shows in the convenience of their own
home. It may be unfortunate that most
people cannot physically sit in the seats
and see the textural intricacies of the
ISSUE 02: SUBCULTURES IN FASHION
PHOTOGRAPHER: Silas Chu, @silas_shc
MODEL: Mavaney Keel, @mavaney
FASHION SHOW: a.oei studio, @a.oei_studio
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PHOTOGRAPHER: Silas Chu, @silas_shc
MODELS: Domenica Michelle, @domenica_photo /
McKenna Herzog, @mckennaherzog /
Yanina Panfilenka, @jadfeel /
Megan McBride, @meganleemcbride
24 FASHION SHOW: a.oei studio, @a.oei_studio
PHOTOGRAPHER: Silas Chu, @silas_shc
MODELS: Agatha Tutia, @allaboutaggie
FASHION SHOW: a.oei studio, @a.oei_studio
designs in person, but as an audience,
we unknowingly inspire the culture and
ideals in which the world of fashion is
founded on.
As individuals, we are able to shape
the cultural identity of our society
through creating music, art, and technological
advances unique to our current
decade. Current and traditional culture
from around the world is embedded
into shows to broaden its audience and
to promote diversity in fashion design.
It’s important to recognize the difference
between a designer incorporating
cultural elements from the perspective
of appreciation and education rather
than a self-serving, irreverent perspective.
Some positive examples include
Chanel’s 2016/17 Cruise show in
Cuba, which incorporates Cuban culture
through its use of local musical artists
performing on the runway, and its
location being physically on the streets
of Cuba. The models in the show are
diverse and represent the demographics
of the area in a way appropriate and
important to runway culture. Lagerfeld’s
As a general public,
we may not find
our names on the
exclusive invitation
lists, but we can see
elements of ourselves
within the music that
represents our experiences
and within
the designs that tell
our stories.
pieces in the collection all have a certain
ease representing the free spirited
Cuban culture of the early 1900’s. Guo
Pei, the genius behind Rihanna’s iconic
yellow ensemble at the 2015 Met Gala,
is a specialist in incorporating ethnic
culture into runway fashion. She integrates
traditional Chinese design into
intricate headdresses, dramatic gowns,
and beautiful shoes. This aspect of high
fashion reveals how we as an audience
actually do impact the looks we see in
the seemingly distant and elite runway
scene. We influence our society’s culture,
which then inspires high fashion.
The integral link between the individual
and largely known name brands can
further be found within the designs of
local artists as well as the atmosphere
of their shows. These shows are often
more personal and organic. Through
these designs, the designer’s identity
is clear and at the forefront. They are
unapologetically revealing parts of themselves
within their shows, an aspect that
prestigious high fashion can sometimes
lack. Local fashion culture demonstrates
the possibilities of what the fashion industry
can become when it embraces an
intimate approach of sharing designs.
The prestigious nature of the world
of fashion fosters the captivating unattainability
of runway culture which draws
us all in.
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GRIME
Photographed by Lola Reinhardt
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PHOTOGRAPHER: Lola Reinhardt, @llllooolla
MODELS: Kym Littlefield, @waitbutwho /
Darra Bunkasem, @soundsbydarra
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PHOTOGRAPHER: Tyler Flom, @tylerflom
INTERVIEWEE: Mati Rafael, @kalemne
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GENDER
AND FASHION
INTERTWINE
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Written by Horatio Shine
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WHAT IS
GENDER?
Trust me, I’ve asked this question a lot.
At eighteen, I’m still struggling to discover
an answer, both in the great big
theoretical and in the much more intimate
personal. I don’t yet know how I
identify. The concept of gender exists for
me as foggy, shapeless ideas. These
ideas, for me, are largely based in aesthetics.
Girlhood is frilly skirts swishing
around my thighs and brightly colored
eye shadow and mile high stilettos.
Boyhood is poofy-sleeved button-ups
and sweater vests and those same mile
high stilettos (I may just like pretending
to be tall). I’ll be the first to admit it—
these ideas are pretty shallow and
loosely based on stereotypes. I honestly
don’t know, in this world fighting against
gender norms, what else gender is supposed
to include. My entire conception
of this society-ruling construct is based
on fashion.
Since my personal views on gender
are so aesthetically based and don’t fall
properly into either of the binary genders,
I thought it would be best to ask
some people with personal experience
in the intricacies of living outside the
gender binary. I turned to the brothers of
Delta Lambda Phi’s Psi Chapter, a UW
fraternity chapter made up of LGBTQ+
individuals. Meet Mati Rafael and Layne,
my guides in understanding the complex
world outside of binary gender. Gender
expression is often centralized in clothing,
so how does fashion play into that
story? I interviewed Mati Rafael and
Layne in hopes of gaining a better grasp
on some of the connections between
gender and fashion and how fashion
shapes existence outside of the binary.
Mati Rafael identifies as bigender,
meaning they identify as both a trans
woman and a gay man. She is “both at
the same time, all the time.” She uses
she/her, he/him, and they/them pronouns
interchangeably. He looks specifically
in the women’s sections, saying
that his beard and build already make
him appear masculine, so he looks for
more feminine clothing to build a mix of
the two influences. They described this
as “trying to find the feminine part,”
which they have been doing since childhood.
She has “no connection to masculinity
at all, other than being gay,” so her
fashion melds together women’s fashion
with the more effeminate side of gay
fashion subcultures.
Layne, on the other hand, considers
himself to be a non-binary man, and
uses both he/him and they/them
Through their clothing
choices, Mati
Rafael showcases
resistance against
gender normativity.
pronouns. In other terms, Layne identifies
as in-between male and female, but
leaning more towards the masculine, or
“male-ish” side of the spectrum. While
shopping, Layne said he looks in both
the men’s section and the women’s section,
choosing clothes based on whether
he likes them over what gender they
were supposed to evoke. They enjoy
clothes “that other people don’t have,”
fostering a unique aesthetic completely
outside of a binary set of norms. They
also appreciate clothing for sentimental
value, things with “family connections,”
such as heirloom jewelry, from relatives
across the gender spectrum.
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PHOTOGRAPHER: Tyler Flom, @tylerflom
INTERVIEWEES (L to R): Layne, @layne.woodward2701 (Left) /
Mati Rafael, @kalemne (Right)
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Layne relishes the
freedom that exists
outside gender
specificity.
They both have complex relationships
with gender, both personally and as a
broader concept. Gender as a construct
rules all of our lives in both imperceptible
and obvious ways, and the journey of
stepping outside of those bounds is not
an easy one.
They definitely share some similarities.
Both stated a desire for positive
attention that is achieved through bold
fashion choices, such as bright colors
and fun patterns. Both expressed that
they wanted to appear queer in their
dress choices, preferring to emphasize
their gender non-conforming identities
through the clothes they wear. Part of
the joy of identifying outside of the gender
binary comes in challenging the borders
of traditionally gendered clothing.
Unfortunately, dressing against the
grain of gender norms is not as safe as
many would think. Openly transgender
people are subject to a constant fear of
violence in retribution against their gender
expression. Both Mati Rafael and
Layne expressed concerns towards
really expanding their expressive clothing
choices. Mati Rafael said she is
afraid to wear skirts or dresses in public,
taking her outward gender expression
from androgynous to overtly feminine
and perhaps crossing a line into dangerous
territory. Layne communicated a
similar fear; while they enjoy presenting
as obviously transgender, they are hesitant
to do so when not surrounded by
their LGBTQ+ peers. Being alone in public
places makes unconstrained gender
expression unsafe.
This fear is a journey that every gender
non-conforming person experiences.
Though their worries are far from gone,
both Layne and Mati Rafael are finding
their way along individual odysseys of
self-confidence. In their younger years,
both felt it necessary to try and hide
within their clothes, uncomfortable with
the bodies beneath. For Layne,
as with many transgender individuals,
fashion was a means of masking his
body so that he would pass, or be perceived,
as male, allowing little experimentation
outside of that. For Mati
Rafael, she first came out as a gay man,
at which point she began to pay more
attention to fashion. Only as each was
able to become more comfortable with
their gender identity were they able to
experiment more with clothing. Mati
Rafael is now confident enough to wear
more feminine clothes, but feels pressured
to present femininely enough to
still be seen as the bigender person she
is. Layne, on the other hand, finds their
non-binary identity freeing, allowing
them to wear whatever they choose,
unconstrained by gender norms.
The pressures of society and gender
norms are sure to exist for many years to
come, but change is happening around
us. The journey to freedom of expression
and identity is one with no defined ending,
but be assured that if we, both as
individuals and as communities, continue
to step along that path, together
we can come to a more diverse and yet
interconnected society. I come out of
writing this article not with answers to
the endless myriad that is gender, but
with a sense of hope that joy and
self-confidence are possible regardless
of whatever my answers or lack thereof
may be. There is happiness to be had in
the gray zones, the in-between places,
the unanswered questions. Fashion and
gender walk hand in hand into that
ambiguity. I think I will follow them in.
PHOTOGRAPHER: Tyler Flom, @tylerflom
INTERVIEWEE: Mati Rafael, @kalemne
36
There is happiness to be
had in the gray zones, the
in-between places, the
unanswered questions.
Fashion and gender walk
ISSUE 02: SUBCULTURES IN FASHION
hand in hand into that
ambiguity. I think I will
follow them in.
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38
HYBRID
Photographed by Shawn Lee
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PHOTOGRAPHER: Shawn Lee, @syn.photo
MODEL: HoKwon Kim, @kqwon7750
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HIP HOP
STREAMING INTO
FASHION
Written by Varun Rao
PHOTOGRAPHERS: Lola Reinhardt, @llllooolla /
Vanessa Rivera, @vanessarivera10
42 MODEL: Eve Moynihan, @eve.moynihan
‘Cause everything
designer, her jeans
is Helmut Lang
Shoes is Alexander
Wang and her shirt
the newest Donna
Karan, wearing all
the Cartier frames
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Jean Paul Gaultiers
‘cause they match
with her persona
Song: “Fashion Killa”
from A$AP Rocky’s debut album LONG.LIVE.A$AP
43
As hip-hop became a cultural
phenomenon, the style of
artists and fans started to
become more recognized
around the world.
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Creativity in art is defined by the stories
that are told through the medium. The
worlds of fashion and hip-hop have both
been cornerstones of storytelling over
the past decades. The two worlds have
been crossing streams with their ability
to showcase the experiences of the artists.
Fashion and hip-hop have become
reflective of the environment and the
upbringing of the artists which resonates
with the millions of fans around the
world. As hip-hop became a cultural phenomenon,
the style of artists and fans
started to become more recognized
around the world. It created a crossover
that would change how modern consumers
view fashion: the hip-hop subculture.
A REFLECTION
OF SOCIETY
The hip hop culture is one that roots
itself in the late '80s, when artists began
to record their music and publish it for
the world to hear. It would go on to
evolve over the decades to develop into
a perfect medium for complex storytelling
and becoming the most commercially
successful genre of the 21st
century. In the late '80s, when hip-hop
was in its infancy, groups like
Grandmaster Flash and the Furious Five
wore the quintessential bright colors
that reflected the wild and fresh beats
they were performing over. As the '90s
rolled on, iconic gangsta rap groups, like
NWA, began to bring their fashion from
the streets of Compton into the limelight.
Black was the primary color they
wore to reflect the harsh and dangerous
reality of their home city. Cuban chains
and baseball caps became the stereotypical
image of hip-hop artists as NWA
began to receive national media coverage
for their controversial and rebellious
lyrics. This resonated with the audience,
as they were able to recognize these artists’
struggles and emotions through
PHOTOGRAPHERS: Lola Reinhardt, @llllooolla /
Vanessa Rivera, @vanessarivera10
MODELS: Eve Moynihan, @eve.moynihan) /
Abdi Abdikadir, @lavishbrock
44
their music and fashion. As the artists
began to get more attention in the media,
so did the clothes they were wearing.
COMMERCIALIZATION
OF HIP-HOP FASHION
The first example of mainstream acceptance
of hip-hop culture was when the
New York-based rap trio Run DMC
signed a $1 million endorsement deal
with Adidas in 1986. This caused the
verification of hip-hop artists as fashion
icons by one of the largest sports brands
in the world. It opened the gate for collaborations
between various sporting
brands and hip-hop artists. These
include Reebok partnering up with 50
Cent and Jay Z in the early ’00s, and
Adidas collaborating with hip-hop artists
like Missy Elliot in 2005. This commercialization
leads to more global influences
as fans across the world were
exposed to the growth of hip-hop.
INTERNATIONAL
INFLUENCES
It is undeniable the influence Pharrell
Williams had in introducing Japanese
fashion brands like A Bathing Ape and
Comme des Garçons to the hip-hop subculture
and integrating them into
American fashion through brands like
Billionaire Boys Club. This influenced artists
to wear international brands with a
variety of colors and designs to reflect
their status as global icons. The introduction
of bright colors and skater styles
that were the staple of Japanese street
fashion caused a blending of culture
that would cause hip-hop fashion to be
the leader in the modern streetwear
scene. Artists like A$AP Rocky are heavily
influenced by traditional designer
brands like Louis Vuitton and YSL, which
can be reflected through their lyrics and
fashion choices.
ARTIST TURNED
DESIGNER
Kanye West broke the boundaries
between hip-hop artist and fashion
designer when he launched his brand
Yeezy in 2009 in collaboration with Nike.
After switching brands to Adidas in 2013,
Kanye went on to make his Yeezy clothing
and sneaker line one of the most worn
and celebrated fashion brands among
artists and fans. By creating a brand
that appealed to the hip-hop community
with the attention to detail of a designer,
Kanye gave his fans the ability to stay
connected to their community while
experiencing the quality of a designer
brand. Using his newfound influence on
the fashion scene, Kanye went on to promote
upcoming fashion designers Virgil
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45
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46
Abloh and Jerry Lorenzo whose brands
Off-White and Fear of God have become
staples of the hip-hop community.
FUTURE OF
HIP-HOP FASHION
This diversification
With digital streaming and services like
SoundCloud, the entry barriers into the
world of hip-hop has never been smaller.
Exposure to many diverse characters
and personalities, who have brought
their unique style and perspectives to
music and fashion, have blossomed.
Digitization has also allowed artists to
independently sell their own merchandise
catered to their fanbase. This diversification
has caused hip-hop fashion to
branch out to reflect the individuality of
every artist and their fans. With this
change, fashion in the hip-hop world has
exploded to unprecedented fame. Artists
now sell merchandise simultaneously
with their albums, blurring the line
between musician and designer more
than ever before. As the industries continue
to integrate among themselves, we
will continue to see artists and fans’
styles evolve to the experiences and
environment of the time.
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has caused
hip-hop
fashion to
branch out
to reflect
the individuality
of
every artist
and their
fans.
PHOTOGRAPHERS: Lola Reinhardt, @llllooolla /
Vanessa Rivera, @vanessarivera10
MODELS: Eve Moynihan, @eve.moynihan) /
Abdi Abdikadir, @lavishbrock
47
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PARADISE
Photographed by Moniyat Chowdhury
48
49
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PHOTOGRAPHER: Moniyat Chowdhury, @moniyat
MODEL: Sahra Salah, @sahra_salah
50
PHOTOGRAPHER: Moniyat Chowdhury, @moniyat
MODEL: Zarah Khan, @zarahkhan
51
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52
THE CLOTHING
REBELLIONS
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Written by Athena Benjamin
53
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In 1908, Teddy Roosevelt was president,
Converse was founded, and the first
American woman flew as a passenger in
an airplane. Edith Hart O. Berg asked
the Wright Brothers to make a trip in
their plane, and when she was granted
permission, she tied a rope around the
bottom of her dress to keep it out of the
way. A decision based on functionality,
the hobble skirt emerged from this simple
act. At the
time, this
skirt was
immensely
controversial
for women to
wear, accentuating
the
shape of their
lower half.
Albeit small,
this was a
notable
moment in
the feminist
movement, as
women began
to appear in
more than
their traditional,
restricting
wear. It was a
small step
forward for
women that
allowed for
leaps in
the future.
Fashion is
often perceived as being unnecessarily
frivolous and impractical, disregarding
the movements that have risen due to
the industry. Moving from the rigid
Victorian period to the Roaring Twenties,
the feminist movement had more room
to flourish and grow, namely through
fashion. The 1920s, perhaps one of the
most famous eras for fashion,
introduced the flapper. Flapper style was
unlike anything seen before. Women
began wearing dresses that revealed
their calves, cutting their hair short, and
adding heels into their wardrobe.
Dresses’ drastically shorter hemlines
and thinner fabrics exposed women’s
bodies in an innovative and defiant way.
Their short hair existed in a time when
long hair was professed as feminine and
the way women “ought to be.” This boyish
hairstyle was a message, showing
no interest in being confined to the
expectations of female gender roles. It
was not a coincidence that flapper fashion
was born during the battle for women’s
suffrage. With more rights and
freedoms available to women, they were
more welcome to express a sense of
freedom in the way that they dress.
'30s fashion introduced women to
one simple article of clothing: pants.
Dresses greatly limited their movement
and constricted them into uncomfortable
apparel. Two famous actresses of
the decade, Marlene Dietrich and
Katharine Hepburn, made themselves
into fashion icons as they began to regularly
wear pants. In 1933, Eleanor
Roosevelt
became the
first First Lady
to wear pants
to a formal
Fashion is often perceived
as being unnecessarily
frivolous and impractical,
disregarding the movements
that have risen
due to the industry.
presidential
event. With a
push from
influencing
celebrities,
trousers
began to be
worn in leisure
and formal
events.
Today, wearing
pants
seems like a
normal day
outfit; however,
in the
context of the
1930s, wearing
dresses
was the norm.
When
World War II
stopped the
nation in its
tracks and
damaged the economy, the fashion
industry responded. In the '40s, because
of World War II, clothes began to see
less fabric to avoid using excess material.
Swimsuits got shorter than ever.
Two-piece sets were flaunted on the
American beaches, exposing women’s
stomachs to the public, an outrageously
scandalous act. In the past, women
54
wore full body undergarments to swim.
Once two-piece swimsuits arrived,
women received a new freedom on the
beach that was previously withheld
from them.
The 1950s brought the one and only:
bullet bras. Bullet bras inordinately
accentuated the breasts. This undergarment
virtually had the same effect as
putting a neon sign on a woman’s chest
clothing revealed more of their bodies.
This was most evident in the emergence
of miniskirts in the '60s. Named after
the designer and creator Mary Quant’s
favorite car, the Mini Cooper, miniskirts
were a symbol of female power and ownership
of sexuality. Skirts and dresses
were not worn above the knees until the
miniskirt and the skirt received
immense backlash. Coco Chanel herself
its actions. The peace symbol was worn
on necklaces and drawn on shirts.
Dressing in this new style reflected their
political beliefs and rebellious attitudes.
As the '80s came around, leggings
were a new controversial must-have
clothing piece introduced. Originally
worn by the women in aerobics, this
style of pants were worn more regularly
outside of exercise classes. Pop Queen
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1900
Hobble Skirts
1920
The Flapper
1930
Pants
reading: “You can’t hide my femininity.”
They were in control of their bodies and
how they were perceived by the public.
Women got to show their curves outside
of the beach. It began as a“girl next
door” aesthetic and ended up sweeping
the nation. Anybody who was somebody
was wearing bullet bras in the '50s.
As the years went on, women’s
described them as “just awful.” The
pieces that receive the most retaliation
are often those that are heard the loudest.
While the Vietnam War raged on in
the '70s, fashion stood hand-in-hand
with the anti-war protests and marches.
What may be called hippie clothes or
bohemian fashion warned the government
that they would not stand behind
Cher, among other celebrities, popularized
this new fad. Skintight and sexy, the
leggings trend further allowed women to
own their bodies and dress comfortably
chic. In a time when women’s clothes
were far from comfortable, leggings took
the country by storm.
Then came the decade of grunge: the
'90s. The image of the “bad girl” arrived
ILLUSTRATOR: Janine Crosland, @_justmejanine_
55
1940
1950
1960
ISSUE 02: SUBCULTURES IN FASHION
Swimsuits
Bullet Bras
Miniskirts
1970
1980
1990
Bohemian Fashion
Leggings
Grunge
56
It was a small step forward for
women that allowed for leaps
in the future.
with chokers, black eyeshadow, and
leather jackets. Women were seen as a
force to be reckoned with. The aggressive
nature of the '90s grunge aesthetic
directly challenged previous portrayals
of women as innocent and docile. With
grunge came an unrestrained form of
expression. Women in this decade were
unafraid to speak up for their beliefs and
their style reflected that fearlessness.
It may seem that all each decade left
behind was less and less room for the
imagination; however, there is more to it
than that. The freedom of dress offers
comfort and acceptance of oneself.
Fashion is an extension of self, and yes,
with each decade came more skin, but it
opened the choices that women had by
simply expanding their wardrobe. In
wearing skin-tight clothes or oversized
sweaters or men’s jackets, a woman is
communicating that she is comfortable
in her own skin.
While women have earned the right to
wear more revealing clothing in the 21st
Century, a victim-blaming culture has
been unwittingly thrust upon them.
Great strides have been made toward
female empowerment, but the fight is
not yet over. The recent #MeToo movement
has revealed the staggering number
of women and men who have fallen
victim to sexual abuse. Wearing short
skirts and cleavage-revealing shirts has
become a part of the norm; yet, this
does not stop the masses from accusing
women of “asking for it” when they
choose to dress in a more revealing way.
In a movement where people utilize
women’s clothing choices as a weapon
against them, others have fought back
using their own clothing choices for
retaliation. During the 2018 Golden
Globes, men and women dressed in all
black to protest the inequality between
the genders. Through large numbers
and unified fashion choices, they made
a loud statement against the normalized
culture against women.
Although there have been immense
amounts of progress in female empowerment
and equality, there is still massive
social inequality within the United
States and elsewhere. As the 2020s
begin this year, understand that clothing
has power to start and propel movements
forward. No one ever knows what
kind of new, controversial fashion statements
will arrive until it is in front of
them. The flapper era could never have
been predicted and it was one of the
most influential fashion movements in
recent history. Rebellious fashion
throughout the decades has shaped history
in ways that no one could have
imagined, and it will continue to do so.
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58
GLIMMER
Photographed by Jasmine Wee
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PHOTOGRAPHER: Jasmine Wee, @jasmine_wee
MODEL: Zoe Clarke, @zoeclarke
59 59
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PHOTOGRAPHER: Taiying Pusztaszeri, @taiying.shoes
62 MODEL: Marcella Touche, @marcellatouch
CTRL+ALT+
FASHION
Written by Vivian Tran
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63
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alternative fashion:
fashion standing apart from the
mainstream at some point in time
PHOTOGRAPHER: Taiying Pusztaszeri, @taiying.shoes
MODEL: Marcella Touche, @marcellatouch
64
Picture the
early 2010s.
You have a decently popular Tumblr blog
filled with fandom posts, Acacia Clark is
almost every girl’s beauty icon, and hundreds
of pretty boys have jump-started a
career as online humor personalities on
Vine. The domination of social media on
youth culture gained its traction and
momentum during the time of Tumblr.
Even if you didn’t have a Tumblr account,
the platform wriggled its way into whatever
account you did have. Facebook circulated
iconic justgirlythings posts and
Instagram humor accounts reposted
threads, giving everyone a taste of
Tumblr’s unique online social scene.
Tumblr dominated online teen pop-culture,
embedding itself particularly into
the teen fashion scene. Pastel hair, hipster
glasses, mustache-themed crop
tops, beanies, heavy eye makeup, and
large side-swept bangs across the
forehead clutter social media feeds.
While the days of Tumblr are behind
us, the Internet culture the platform
carried is recycled into today’s popular
social media.
From Instagram influencers to Twitter
baddies to TikTok e-stars, the teen fashion
aesthetics of yesterday’s Tumblr
blogs have grown in sync with the explosion
of new social media platforms to
create new tabs of fashion trends. The
hipsters are now VSCO girls and artsy
photography boys. The kawaii and
Vaporwave trends have meshed with
scene to produce e-girls and e-boys. Soft
grunge sees its elements in the modern
vintage art girl and skater boy, while also
contributing to the evolution of streetwear
hypebeasts. These categories illustrate
the idea of the “popular
alternative”, defined as the personified
categories of Internet fashion trends
that exist due to a niche being exploded
into popularity. The popular alternative is
The variety of alternative categories give
birth to an online system of fashion
cliques, all mashed together in the World
Wide Web cafeteria.
ironic in that it displays the ways internet
youth attempt to get away from what is
popular and, as a result, end up creating
something that is popular. The variety of
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65
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alternative categories give birth to an
online system of fashion cliques, all
mashed together in the World Wide Web
cafeteria.
The popular alternative defines a paradox
of being anti-mainstream yet at the
same time popular. What is fascinating
about ‘alt’ fashion, however, is how
many of the categories exist almost
solely online. Some categories, such as
VSCO girls and streetwear, have a little
more influence outside of the screen
and into the real world. But others have
distinctive looks living just within the
confines of the Internet. For example,
not many features of the e-girl/e-boy
look are seen often in everyday life. The
trend’s vivid and boldly colored fashion
is usually only spotted behind the screen
of a social media post. The name e-girl/
e-boy itself describes its digital nature,
as the letter ‘e’ in the names stands for
‘electronic’. Some also attribute the
meaning of ‘e’ to the word ‘emo’ as
many elements of emo fashion overlaps
with e-girl/e-boy style. Both e-girls and
e-boys found their beginning with help
from the popular TikTok platform, where
the trends of colorful dyed hair and
heavy, bright makeup with gothic or
anime-esque clothing rapidly spread as
a counterculture to the popular influencer
looks. Many of those who create
looks for the e-girl/e-boy trend are doing
so solely for an image to put on social
media. While not being a super popular
fashion trend in real life, the huge levels
of popularity the e-girl/e-boy look has
online says something about the ties
between fashion and the Internet.
On the Internet, fashion is a way to
present an aesthetic identity; and these
aesthetics become life forms of their
own, creating a personified fashion trend
that exists in the pixels making up our
screens. As social media continues to
evolve, the rebellion against the mainstream
and its influence on our styles
will also continue to pave the path for
new digital fashion identities to unfold.
Whether it be the child of the VSCO girl
and Vaporwave or the revival of bohemian
mixed with streetwear, whatever
the next big fashion persona is, it will
continue to shape our fashion sense
both on and off the Internet.
PHOTOGRAPHER: Taiying Pusztaszeri, (@taiying.shoes)
MODEL: Marcella Touche, (@marcellatouch)
67
MEET THE TEAM
Kaitlin Yau
Editor-in-Chief & Founder
Anastasia Gerrans
Incoming Editor-in-Chief
Tyler Flom
Photography Officer
Lola Reinhardt
Incoming Photography Officer
Silas Chu
Photography
Taiying Pusztaszeri
Photography
ISSUE 02: SUBCULTURES IN FASHION
Shawn Lee
Photography
Vanessa Rivera
Photography
Moniyat Chowdhury
Photography
Jasmine Wee
Photography
Savannah Croissant
Marketing Officer
Courtnee Hong
Incoming Marketing Officer
Cassie Zeng
Marketing
Camille Beehary
Marketing
Olivia Nguyen
Marketing
Vera Zhang
Marketing
Janine Crosland
Editorial Officer
Athena Benjamin
Incoming Editorial Officer
Horatio Shine
Editorial
Sonika Tayade
Editorial
Varun Rao
Editorial
Jordyn Bryant
Editorial
Vivian Tran
Editorial
Calvin Kordel
Graphic Design Officer
Nicole Ayn Sanchez
Graphic Design
Katie Cowin
Graphic Design
Teagan Mach
Graphic Design
NOT PICTURED
Emily Hoang
Marketing
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@muse_uw
msha.ke/muse_uw