A Rumination on Race and Fashion

I would say I got into fashion because of my mother, who has long held the belief that when you look good you feel good and as a child and quite frankly as an adult, I’m prone to mimicry. Watching the pleasure she derived from finding a discounted bag at Daffy’s, her heaven and sanctuary, as a kid was infuriating because I was dragged along and would have to occupy myself by hiding in the rounders and running the dancing belts through my fingers. Yet, now I see the appeal of something new and something borrowed. Instead, realized that what truly drove me into fashion was not my mother but the reality of my own Blackness.

I had a brief yet defining era of pencil skirts down to my knees, locking my thighs in place, long flowy blouses unsuited for my silhouette, and American Apparel and Urban Outfitters accessories I could barely afford. All of that was the failed attempt to be small, dainty, and white. At first, fashion was a means through which the unalterable state of Blackness could undergo a metamorphosis. I wasn’t necessarily trying to be fashionable; I was trying to fit in because there was something joyous and comfortable about being like everyone else. If beauty were going to be static and fixed by societal standards to exclude me. Then I, the 12-year-old that I was, and the person I was going to transform into, all squeezed into its narrow definition. I could not zip my body down the back, head to the crack in my butt, and reach my fingers into the slit between the skin and muscles, squeeze my nails through the tendons, pop out the filaments and bone and step into a new skin. My transformation into whiteness had to be more subtle than Gregor Samsa becoming a roach. I dressed my body to be unassuming, quiet, a blur, or a shadow. Then when the white girls had retired their gentle aesthetics, I took on the role of a real shadow this time, dressing head to toe in black and zipping up my sweaters to the collar.

In my journey of normalcy, the word “whiteness” hid behind me while I lagged 10 feet behind the group, upon realizing that my illusion failed. I spent all my time trying to be divisible, wanting to be viewed as a person but not a Black person. As a woman but not a Black woman. No amount of white lace and floral patterning would free me from the shackle of Blackness because the shackle wasn’t one of being but one of perception. Dressed in gowns or trash bags cinched at the waist, I would be side-eyed, whispered about, and escorted out; so why not at least give them something to look at? It wasn’t an all-at-once process—redefining my Blackness as deserving. It was a day-by-day introspection and slowly reds, blues, pinks, greens, and golds bled into my wardrobe. I don't want to be white and neither do my clothes. My clothes developed into an assertion of my race. Since I couldn’t hide it anyway it was going to be loud, colorful, and bludgeoning. I like a skintight silhouette because it doesn’t hide the fact that I have a body, that I am a body, solid and fixed. Philosophers have long pondered that the mind may be an entity individual from the body when I wanted to be pulled to pieces the mind-body problem would’ve been a consolation, but my current theory is that my soul too is Black and woven delicately into my veins and when I dress my body I’m adorning Black skin and revealing a Black soul. My clothes no longer consume me, I stuff them onto and into myself. Fashion is now my way of breaking the paradigm of hypervisibility to the state and invisibility to the individual.

Don’t get me wrong, beauty is a looming force. I can beautify myself to a certain extent through my wardrobe but none of that alters beauty as a societal construct, the one that I am powerless against. I don’t want to be taught or to be learned or to be “loved.” I want to be inherent. Predisposed in someone’s brain. To be beautiful. I want it to feel biological the way I am loved. Nothing forced about someone wanting to lay their fingers in my inner folds or having to take me in with a big gulp. Are my thighs not graspable? Are my lips not soft and plump and meant for kissing? Is my back not a smooth surface you want to lay your hand on and reach inside to grind my spine under your thumb? I’m sure in some way the way I dress is akin to Buffalo Bill saying, “Would you fuck me? I’d fuck me. I’d fuck me hard. I’d fuck me so hard” but I’m not begging for beauty anymore. Clothes are my liberation away from the definitions belonging to definers and into ethereal Blackness.

A Week of Looks: The Dinky

“Week of Looks” was born out of curiosity during my first year. I wanted to delve deeper into the unique fashion on campus by adding the full scope of what a person truly wears during the week and what drives their inspiration. So continuing with the series with my fifth installment, I wanted to spotlight one of the coolest people on campus, The Dinky. Here is a little more about them:

I’m Arianna but I am better known as The Dinky. I’m a second year, and I’m double majoring in Art History and Visual Art. I draw and paint, on canvas and on my face sometimes (theDinky.com, if you’d like to check it out). I (clearly) love clothes and fashion— and the performance of dressing up. I am a disciple of Kate Bush, Sufjan Stevens, and Tina Turner.

Is there anything in fashion that scares you?

Looking ugly — joking! Since I tend to wear things that could be considered “overdressed” for daily garb, I do get worried about being “too much” or looking out of place. Luckily these thoughts do not plague me that often, because I have resolved that I simply don’t care! Wearing a silly or crazy or “costume-y” outfit makes it fun to simply be everyday. And I believe adorning the body in pretty things is one of the great joys in life. Also, as a pretty shy/quiet person, I like to think that my outfits speak for me.

How can an outfit dictate your mood?

I enjoy wearing things that make it feel fun to move throughout my day. I try to have my outfit be as cohesive as possible. I like when there is a clear color palette throughout, and if I realize throughout the day that an element of my outfit “doesn’t go,” frankly I get quite irked. I know other people don’t really notice or care, but I KNOW. Obviously if I am wearing an outfit I’m very proud of and feel comfortable in, I feel that I can move through the world with much more grace. As drag queens say, “I’m feeling my oats.”

How do your style choices change from day to day ?

There are multiple facets that go into my style choices on certain days, ranging from practicality to silhouette. I also have certain “figures” I like to emulate, or rather “archetypes.” For example, I really enjoy dressing like a vampire in the winter, and I like to look like a nymph or mythical creature when it’s warm out. Cowboy and Dapper gent are also in the mix. Another factor that goes into my choices is how I want to present myself. As a non-binary person, I desire to present more feminine sometimes and more masculine at other times, and of course anywhere in between. The clothes themselves have no gender, but an outfit as a whole with its silhouette can read different ways… I like to experiment how certain pieces of clothing can affect the vibe of an outfit. I am also very much against “outfit repeating” (it’s okay if other people do it but I simply stay away from it) and like to switch up my “character design” from day to day, unless I’m trying to stick with one “theme” for an extended period of time (for example: vampire, which was a favorite for a while).

Monday

FIT 1: Medieval Boy-scout

The outfit was mainly based around the black corset top I am wearing (which is from Depop). It felt medieval but also kind of “hard” and gothic. I was also in European Civ that quarter and had serfs and knights on the brain. Basically, I wanted to wear something that would look natural if I was also holding a long sword. It was a pretty warm day, so I did have in mind that I wanted to avoid being uncomfortable or sweaty, hence the shorts and minimal layering (which is unfortunately my favorite thing to do). I expected to feel “incomplete” in this outfit due to the pieces being minimal, but actually felt very put together! As mentioned before, I enjoy a consistent color palette, and the beige pieces (the shorts, shrug, and shoes) were so similar in tone that I ended up feeling quite complete. I really enjoy an outfit when I can easily feel like a character with a particular “vibe” no matter where I am, and this was definitely one of those times. In addition to the “put togetherness” of it, I also felt the silhouette and pieces were all pretty gender neutral but still boyish (hence medieval boy-scout), which is what I was going for. All items were found on Depop except the shrug, which I got at Village Discount here in Chicago.

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Tuesday

FIT 2: Dapper Gent in all Black

Once again, it was a hot and sunny day, but this time I threw practicality out the window because I just REALLY REALLY wanted to wear all black and look like a dapper gent. Monochrome outfits are a great love of mine and focusing on a single color is also a fun challenge too! I was aiming for “dapper-gent/business man off duty”… Basically all the elements of a “formal” masculine fit but stripped down. The weather would of course not permit a blazer, so I just went with a loosely fitting black button down and a black vest for added texture and silhouette to balance out the looseness of the pants and shirt. Outfits like this one just make me feel cool, and that is the simplest way to put it. Unfortunately, wearing all black in the heat did not add to this “cool” feeling. To rephrase the classic saying, SOMETIMES beauty can be pain.

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Wednesday

FIT 3: Forest Nymph/Fae Creature

Sometimes an outfit could be perfectly reasonable and practical for the weather, but the desire for accessories is too overpowering. Here is the forest nymph I mentioned earlier, complete with fingerless gloves and leg warmers (for no smart or practical reason). It was once again a beautiful sunny day, and I felt the need to look like I could frolic in a mythical land… or possibly have wings or something. I aimed for something flowy and whimsical but with a clear silhouette. Of course, a nymph would not wear a pinstripe vest, but I wanted to add some fitted shape to the flowy ensemble. (Fun fact: That vest is probably my favorite item of clothing ever. I found it at a thrift store on Melrose in LA) I think this is one of my more “costume-y” (not in a bad way) outfits, even though it’s still pretty tame (to me). The leg warmers and fingerless gloves were really not needed, but I felt this nymph character needed more texture... Plus leg warmers and gloves are simply cute! I like when certain pieces can convey an element of the character/figure/archetype I am going for. For example, I felt that the long flowing sleeves of the shirt could read as fairy wings. Every item is from Depop besides the vest, which was from a thrift store, and the leg warmers and fingerless gloves, which were from estate sales.

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Thursday

FIT 4: Professor Cowboy

For people who know me, this is a pretty classic Dink Fit: all beige, signature low-waisted pinstripe tan pants, a smart blazer (from one of my mothers old pant suits), another one of my favorite shirts, a vest of course, and to top it all off — a bolo tie. The absolute kicker would have been a cowboy hat. My aim for this look was obviously cowboy-esque but also a gentleman— a traveling man who also loves to sit down with a good book. Masculine silhouettes are sometimes tricky for me, but I find that a blazer plus a vest always works/solves that issue. I felt that this outfit settles very nicely between being stylish and “normal” and performative (in the sense that I really wanted all these pieces to work together to create a real character out of it). Sometimes, I fall so deeply into the “character” of an outfit that I can’t help but move through the world with a sort of swagger (lol). When I sat down and read my book in this outfit, I really felt like I was performing a role: that of Professor Cowboy.

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Friday

FIT 5: Count Dinkula or Only Dinks Left Alive or They Vant To Dink Your Blood

There are some days when I subdue my outfits for practicality or even worry that something is “too much,” but some days, I simply say Who Cares, à la Garfield, and go all out. Last winter, I watched Interview with the Vampire (for the first time embarrassingly), and I was thrown head first into an obsession with vampires and the many aesthetics they can have (ranging from grungy fashionable present day vampires in Only Lovers Left Alive to classic maximalist period-piece vampires like in Bram Stoker’s Dracula). Basically, I wanted to dress like a vampire everyday. Having a single concrete theme/character in mind also makes it much easier to decide what to wear daily, and with this one, there are so many ways to go about it! Some days I would feel like a cool modern day vampire who’s been alive long enough to finally look “hip with the times,” and other days, I would want to be a more classic vampire in Victorian garb. In this case, I wanted to be a happy medium between the two, but leaning more towards the classic Victorian style. On top of that, I wanted to take current pieces (aka nothing actually vintage) and create a vintage silhouette. It is basically just a corseted shirt and a long skirt but with a thin mesh/silk slip underneath, which I partly tucked into the skirt to add more volume and texture— almost like a bustle. Frankly, with the fog and the wind, this outfit made me feel evil (in the best way). So basically, this winter quarter, if you see a vampire sauntering around campus, that’s me! All items were found on Depop, including the glasses and boots.

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all photos courtesy of Nicole Helou

Maternity Fashion: Rihanna and her Bump

Following seven months pregnant Demi Moore’s iconic appearance on the August 1991 cover of Vanity Fair, the world of maternity clothing has begun to evolve. Stigma that once determined maternity clothes to be drab, untrendy, and generally unappealing is on its way to becoming obsolete. Rihanna, talented musician, fearless business-woman, and fashion icon, is at the forefront of voices attempting to encourage women to embrace their pregnant bodies. Now a pregnancy powerhouse herself, the star is making moves to uplift and redefine what it means to be stylish with a baby bump.

Women have been fighting stigma surrounding maternity for decades, especially when it comes to debates such as postpartum depression and maternity leave— issues that are simply not talked about enough, although they are not the subject of this article. Body dysmorphia is also one of these issues, and one that can be combated through fashion.

Body positivity is a point of contention for a lot of people. This struggle is only exacerbated for pregnant women, as the societal norms and beauty standards often reject the appearances of pregnant bodies as a representation of objective beauty (which is complete and utter bullshit, but again, not the point). The subconscious shame that is felt by some women as their bodies rapidly change and grow in new and sometimes scary ways is the primary culprit when it comes to feeling the need to cover up. Maternity fashion reflects this; the first thing that pops up on Google when typing “maternity clothes” into the search bar is a series of long, stretchy-looking, dare I say boring?, tunics, oversized T-shirts, and airy dresses, all finding commonality through their modesty and gross lack of variety.

Images via

Thus, fashion for pregnant women is largely limited to these one dimensional copy-paste styles that serve to provide nothing except for comfort. Don’t get me wrong, comfort is essential when it comes to maternity, and sometimes jeans with an elastic waistband are the move. However, comfort does not need to come at the price of fashionability or options.

While there are brands today that have updated maternity lines consisting of trendier, more personalized options (such as ASOS, a British fast fashion brand), there is still a lack of options for women who desire a bolder way to flaunt their bumps— and part of this is due to a lack of representation of this in media.

This is where our girl Riri comes in. Following her first maternity shoot in January, Rihanna has sported a number of iconic looks that showcase her new bump. Appearing on the May 2022 cover of Vogue Magazine, the Internet has had mixed reactions to Rihanna’s bump-centered style.

Image via

Some have called her looks indecent, while others applaud her for continuing to dress up throughout the pregnancy. She told Vogue that she is “hoping that we were able to redefine what’s considered ‘decent’ for pregnant women. My body is doing incredible things right now, and I’m not going to be ashamed of that. This time should feel celebratory. Because why should you be hiding your pregnancy?” (Vogue).

Countering traditional notions of what maternity clothing should be, Rihanna has shown up to recent events adorned in notable pieces such as the iconic sheer Dior cocktail dress and other styles that feature a bare-midriff, showing off her bump in a not-so-hard-to-notice way. She is the epitome of what pregnancy fashion should look like: as Vogue put it, “if it’s not something she would have worn before she was pregnant, then it’s not something she’s going to wear now” (Vogue). Preventing the sacrifice of personal style during pregnancy is the key to reducing stigma. If we are teaching women that they have to hide their stomachs as they swell with literal life, it would be hypocritical to try to preach body positivity simultaneously. 

What Rihanna’s doing with her “bump-forward” fashion is important; however, it should not be necessary. You would think in 2022 it would be more commonplace for women to show off their bumps in daily life, and for the maternity fashion industry to provide affordable options for them to do so (because at the end of the day, not all of us have a personal stylist). But alas, we are not quite there yet. Rihanna’s outspoken style is the first step to get there; showing women that they should be proud of their bodies, and encouraging them to embrace and maintain their style throughout pregnancy is integral to building confidence and normativity surrounding  “bump-forward” maternity styles. 

While women may not be donning the same bralette-and-brief styles in their daily lives, creating more variety in the maternity fashion world can only benefit women’s mental health and society’s expectations about how women should dress. If you take one thing from this article, please let it be the motto: “If Rihanna can do it, I can too!”

Featured Image via

Showing Your True Colors: Our Favorite Attendee Looks at MODA Nouveau

Showing Your True Colors: Best Dressed at 2022 MODA Nouveau

Like many of the attendees of Friday’s MODA Nouveau, we started our night FaceTiming each other in our respective dorm rooms which were littered with black leather jackets, belts, and blue mascara tubes, asking for opinions on what to wear to the show. Without any guidance or dress code, dressing for the fashion show felt like a raw exhibition of what your style was. No one could be too formal and as the guy wearing a literal trash bag proved, no one could be too casual (but let’s just say we didn’t ask for a picture of his outfit). It goes without saying that when you attend a fashion show there is some added pressure to look particularly good,  but what “good” means varies significantly from person to person as was demonstrated by the outfits we saw on the sidelines of the runway. To different people, it can mean a trendy low-waisted pair of jeans with smudged eyeliner or an all-red jumpsuit with a plunging neckline and a matching bold lip. We saw a huge variety of styles, personalities, and colors at the show, and here are some of our favorites.  

Pretty in Pink

Nouveau’s Neutrals

Monochrome Mayhem

Red and Black Duos

Our Pick!

We absolutely loved the green florals 60s vibe, and the baby blue shoes tied the whole look together. Definitely took home the crown for best dressed attendee.

Blogger Spotlight

We tried fitting the “Nouveau” theme of the night. Our take — bold neutrals with statement pieces.

Photographed, Edited, and Written by Maryam Shariff and Dana Christopher.

Designer Profile 2022: William Hu

This week I got the pleasure of getting to know William and his collection a little better. William is a first year at the College, studying economics, sociology, and architectural studies. He loves to listen to music, play guitar, and learn random skills. Here’s a little about William’s designs and inspiration:

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Give me the rundown of your designs this year:

For my first look, I wanted to create something that I thought could be practical to wear. I have always been a fan of oversized tailoring so I would be remiss to not include that. I wanted it to focus on shapes – bold shoulders, flowy bottom, and now round bishop sleeves! 

For the second design, I wanted to be a bit more experimental in terms of practicality. I have always wanted to make a collarless sort of robe made from wool, and I thought this would have been a great time. I also really wanted to experiment with pleating because I love wide-leg trousers.

For the last look, to say the least, the design was completely changed. Amid making my first few pieces, I wanted to focus on an exaggerated form while paying a sort of homage to some of my favorite designers, namely Rei Kawakubo! It will be a little bit of a surprise…

Mood board

What inspires you? How does this reflect in your collection?

Outside of a formal academic setting, I am interested in architecture and interior design, and I think many elements in those fields can be translated into fashion: proportions, functionality, form, materiality, meticulous attention to details and constructions, among others. Namely, I wanted to play with and put an emphasis on proportions throughout my collection. 

There are also definitely a few designers who inspire me, such as Yohji Yamamoto and Ann Demeulemeester. Their prominences in avant-garde and androgynous fashion definitely inspired a huge part of the aesthetics, as well as their respective design philosophies. I want my collection to appeal to both a male and female audience, similar to that of avant-garde designers. They tend to have a lot of layers and flowiness which should be apparent with my designs in person! 

Design Sketches

Is there anything you wished you knew when you first started your collection this year?

How to sew on buttons and make button holes with a machine well. As simple as it is supposed to be, I spent an unnecessary amount of time doing this :’)

Who do you imagine when designing?

My dad — he is really good at planning meticulously and has an incredible work ethic. At the same time, he tells me to adapt and not worry too much whenever mistakes happen. I have learned that beauty lies within imperfections and to show off the failures and mistakes. And I think my approach to design crystallizes this ideology.

One of William’s inspirations: Yohji Yamamoto

What has been your biggest challenge this year so far?

Living in a double room in Woodlawn, I found it hard to make patterns or cut fabric comfortably while trying to be precise. I would have to do this all on the floor with my back hunched. I also like to keep my room neat and clean, so I would also vacuum the floor everytime I finish cutting fabric.

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all images provided by William Hu

Designer Profile 2022: Caroline Chael

In advance of MODA’s Spring ‘22 Fashion Show: Moda Nouveau, I had the pleasure of speaking with first-time designer Caroline Chael (‘24) about her collection. Caroline is a second-year Biology and English double-major.  Outside of MODA, Caroline serves as an RA, a member of UC Audubon and WHPK, and works at the Field Museum doing research.

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You’re a new designer. What made you want to be a part of this process?

I’ve been making clothes for about 2 years. I taught myself how to quilt during the pandemic, starting off with simple patterns and straight lines. With quilting, I liked that I could make something I could keep for the rest of my life. As I grew more comfortable with quilting, I started teaching myself how to sew clothes and make things I could actually wear. I wanted to be in the MODA Fashion Show because it’s so rewarding to be able to see your designs worn on a runway. Plus, it’s so nice to work with other people—the models, the hair & makeup team—that’s not something you have when you're sewing by yourself. 

What are some sources of inspiration for your collection?

I draw a lot of inspiration from Elton John. Bob Mackie was the designer responsible for some of Elton John’s most outrageous costumes—the big feather hat, the crazy shoes—and I incorporated a similar sort of “go big or go home” design philosophy into my collection. I was also inspired by Dolly Parton and her “cowboy” style. There’s a lot of cowboy imagery in my work. Orville Peck is another musician who inspired me. Peck is a contemporary artist who is known for taking something classic and making it his own. I like to do the same thing. In this collection, I took classic ideas such as “the suit,” “cowboy,” and “American traditional tattoos,” and tried to subvert them.

Caroline’s Pinterest board

Walk me through your collection.  

Yeah! So I made three pieces for my collection, and you can see the sketches for them above. The pink outfit on the left is inspired by American traditional tattoos, which is a style of tattooing typically seen as very dark and masculine. I wanted to subvert that association, so I put these tattoos on an all-pink, glitter set. The sixties-inspired green outfit in the middle was almost entirely modified into something else—I removed the pinstriped pattern and made it more colorful. The Elton John, cowboy-inspired blue outfit on the right was also modified a lot. It ended up being quite impractical to quilt an entire suit, as I’d originally intended. Instead, I modified the materials and reduced the number of colors used. There are elements of all the sketch designs in my final collection, only altered to fit with what was doable. I also made sure to incorporate quilting into all three of my pieces to pay homage to my origins as a designer. 

Caroline’s Sketches

Describe your collection in three words.

Cowboy. Glitter. Hot glue. 

What are some of the most challenging and rewarding aspects of the process?

It was challenging to execute some of the grand ideas I had for my designs. I’m a self-taught designer with just one at-home sewing machine, so I didn’t always have the time or skills to do everything I hoped to do. At one point, I wasn’t sure if I could make the blue suit. With a suit jacket, there are a lot of parts you need to lay correctly. The lapels in particular were really hard to get right. However, I kept going and I ended up being able to finish it, which I’m super proud of. The most rewarding part of the process is seeing the finished product. The fittings are my favorite part. That’s when the look really comes together. The process of adjusting the clothes is also so fun: just by taking in a dress or fixing a suit lapel, you can make a design go from looking like a mess to looking amazing. 

What are you looking forward to most about the show? 

I’m really looking forward to seeing all the collections come together and be shown on the runway. I’ve been zoning out a bit in class, visualizing what it’s gonna look like when the models walk down the runway in full hair and makeup and accessories. It’s going to be so rewarding! 

If you could give yourself any advice on the design process, what would you say to your younger self?

The first thing I would say is: Try out different things. I often spent hours reworking the exact same detail or look until it seemed right. I think I would’ve preferred to create more looks instead of working so much on the same items. The second thing I’d say is: Don’t worry too much about the details until the end. I spent a lot of hours fixing minor details that in the end were not too noticeable. It’s easier to edit at the very end than throughout. 

What’s the story of your collection? 

Classic motifs are associated with certain ideas. Cowboys, suits, and American traditional tattoos each have existing, deep-rooted ideas attached to them. However, I want to show that these motifs can be displayed or worn by anybody—they don’t have to be associated with any group in particular. My collection is not a rejection, it’s a broadening of the scope.  

Designer Profile 2022: Stephanie Kim

When meeting Stephanie Kim at Pret for an interview about designing for the MODA Fashion Show, I knew that I will not struggle to find her. I knew that she was that girl with a captivating, vivid style and an artsy vibe. And I knew that our conversation will be insightful. Enjoy some inspiring, intelligent thoughts of one of our designers - Stephanie Kim, a third year majoring in Computer Science and Philosophy.

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How has your background shaped your artistic vision?

“My own struggles with fashion made me rethink my attitude towards it. Back in high school, I used wear one same outfit for a whole year.” Living her whole life in the US, Stephanie experienced tension between her South Korean roots and American identity, and it was expressed through her style. But the peak of the change happened when she came to UChicago: “Seeing people on the quad - so different, unique and artistically fearless - I started experimenting with my own style and have now totally changed the way I convey myself to others.”

What are your most/least favorite aspects about the design process?

“I love that you can just do fashion and be explanatory. I do not choose the outfit, I get to create it. What is vexing is taking apart what you’ve sewed together. But it’s actually weird for me to call it annoying: If there was an easy path to it, it wouldn’t be as worthwhile.”

What are you thinking about when designing?

“About my models. How it’s gonna look on every type of person. It’s a different outfit on every model, and you cannot detach it from them.” Why is clothes/fashion important to you? “It is the only thing all of us have in common. It is our first projection to others, and it always carries some message.” Then, Stephanie compared communication through drawings to that through clothes:

Unlike paintings, everyone can understand clothes.

After this, she shared another reason she prefers designing: one cannot take a picture and carry it with them. With clothes, though, it is possible:

The canvas is the living being.

What is the most inspiring about UChicago for your creative process?

“Watching the scenery and people in it. I like to ponder what they seem to be thinking, and they are interesting both psychologically and figuratively.” For Stephanie, witnessing that constant change is creatively stimulating, and she finds unification in that diversity: “I am thinking to myself, what if I take that man’s shirt and put it on bikers?”

My approach is mixing together a panorama of all the things and people I have seen.

Best music to play on the runway for you models?

“… that is a tough question”. Here, I thought that it is just challenging for Stephanie to choose the best songs out of the abundance out there. But I was struck: “I don’t think I'd even like any music to my show. Sound makes a big difference, and models behave in a particular way. I don’t want the music to dictate the mood for the viewers, I want them to feel it themselves. But my choice would be organic conversations, such as home-made recording or clips from audio-books of Stephen Hawking.”

Designer Profile 2022: David Schalop

What is the focus of your collection this time around? How has the materiality progressed from last year?

This year, my focus is on a lot of things. I’m definitely going to continue my emphasis on materiality: I plan to print on the fabric again for example. However, I’m also interested in exploring comfort. Namely, I hope to make clothes that my models are comfortable in physically and psychologically. I’m going to attend to the fact that comfort is a function of weather, and individual understanding of self as well as relatedly the types of clothes one feels they belong in.

Do you design with androgyny in mind?

Yes! In step with my previous answer, I am designing clothes for two friends that are women; however, I am making pieces that visually resemble menswear. My hope is to show that people of all body types can wear clothing that fits into any style category. 

How has going abroad affected the collection?

Last quarter I was lucky enough to study abroad in Paris, and the experience has definitely had a big impact on the clothes I’m making this year. Mainly after visiting fashion museums and seeing Parisian everyday style, I’m extra interested in creating looks that are formal and timeless. 

What do you feel is the role of social interaction in fashion design?

Fashion is in its most basic sense self expression. What you wear and how you present yourself are inherently related to the relationships you form with others. That being said, it is obviously just one factor in the formation of meaningful friendships. Nobody knows ultimately why some people get along well! 

In what ways does the location of the show itself affect your designs?

 In general, I tend to ignore the location of the show when making my designs. That being said, I do recognize that the site impacts how people will ultimately engage with the clothes I make. I find that dynamic fun and exciting. Overall, I do not want to directly control it but, I understand that the takeaways people will have about my clothes are inherently impacted by the location of the show.  
Will you be going to Logan or other spaces to design?

I will be designing and sewing everything at home! My home is my happy place when it comes to creative tasks. I will blast the exact music I want to listen to, and take breaks whenever I want. 

Does the fact that this is your last collection play any role in your design process?

Definitely, I’m hoping to more precise than I’ve ever been in terms of technical construction. Straight stitching is the ultimate goal!

What would be your biggest piece of advice for MODA designers in their third year or below?

RELAX! UChicago expects so much of us, and MODA is an added pressure. Try to really take in what is so fun about the design process without worrying too much about the exact outcome. Whatever you make will be great! Be easy on yourself and enjoy the process. I promise you this will lead to the “best” results! 

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Images courtesy of David Schalop

Designer Profile 2022: Jessica Xiong

Hi guys! I’m jess, and I’m a first year double majoring in economics and art history. Outside of MODA, I do some illustration and also just draw for fun. I also like horse riding and bullying my siblings.

Give me the run down of your collection:

My first design (from left to right) was inspired by that one time I went hiking with my friends and one of them wore a long, flowy dress. We were walking near a stream and the ends of the dress got wet, and I just really liked the way the dress flowed in the water. That’s kind of what I’m trying to recreate. 

The second design was inspired by evening dresses in the 90s as well as a skirt I had found in my mother’s closet. There’s a lot of lace in the skirt, and I want the lace in my design to create an ombre that blends into the white skirt underneath. There’s a lot of layering in this design which I find super fun. 

I’m still not too sure where I’m gonna end up with the third design. I think I’ll just go with whatever is in my mind when I start sewing it. It’s probably going to end up looking very different, we’ll see!

What are some of your sources of inspiration for this collection?

I used to do ballet and figure skating, so I often tried to design my own leotards for fun. That kind of stuck with me, so I take a lot of my inspiration from costumes worn by dancers and skaters. I especially like Anna Scherbakov’s costumes. I was also inspired by some of my favorite painters: Georges Rochegross, Rae Klein, and Gaston La Touche and the muted colors color palette they used interspersed with areas of soft light. I also found myself listening to Tchaikovsky’s “June: Barcarolle” a lot while drawing out my designs, so I guess that was also a source of inspiration. 

Have you ever done fashion design work before? 

Nope! I was in DBC this year, so it was my first time getting exposed to the whole design process. I had no idea how a sewing machine worked before this.

What are some of the most challenging and rewarding aspects of the designing process?

The most challenging part of the design process is probably starting in the first place. As someone with very limited experience in sewing, I am often scared that I’ll screw up my designs and make some irreversible mistakes, but it gets a lot easier once you start. Most things I learned on the go. 

Who do you have in mind when you’re designing?

I like to keep movement in mind when I’m designing. I want my designs to flow very well and enhance rather than hinder the model’s movements, so I try and stay away from anything too stiff or restricting. 

What’s your favorite aspect of the design process?

My favorite aspect of the design process is definitely when I am putting all the ideas in my head on paper. I really like to draw, so I find it very fun to sketch out all the designs.

What are you looking forward to most about the show?

I’m looking forward to seeing everyone else’s designs!

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All Images provided by Jessica Xiong

Designer Profile 2022: David Chen

I chatted with David Chen, a former design director and returning designer for the upcoming MODA Nouveau fashion show. We discussed his experience behind the scenes as a design director, the importance of going back to basics, gender-neutrality in clothing, and the way change and distortion in his own life are reflected in his designs.

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On DBC and being a design director:

I didn't join MODA until my second year—my first year, I was a little intimidated by how well-dressed everyone was. I decided to just put myself out there and apply for DBC, and I got in. I had these crazy ideas I had to whittle down and make more realistic.

I put three looks onto the runway, and then last year—my third year—I was a design director with David Schalop. I had such a great time my second year and really enjoyed the whole experience, so I wanted to contribute even more. On top of being a design director, I designed three more looks.

I signed up to be a design director during Spring of my second year, and I thought that COVID was going to blow over and we’d go back to normal. That didn’t happen, so David and I had to create a whole new DBC program and format when it all turned virtual.

Still, it was a really fun experience and I got to work even more closely with the designers. I may have put off my designs a little bit, and in the last few weeks leading up to the show I was in a frenzy. I came up with three pieces centered around sustainability. I had one friend who had this earthworm, compost look. My roommate was a metal straw. It was just really fun, and this year I decided to take a step back—David and I both thought it would be good to have underclassmen take on these larger roles, so that once we left they would be even more prepared. We’re still a ready resource, regardless. I’ve been able to focus more on designing this year and haven’t left it to the last minute!

Is there anything from that experience that translated into how you’ve approached designing this year? 

Last year for the DBC program, we didn’t have a professional designer come in and teach the bootcamp participants like in the previous years. We created a whole new curriculum where regular designers could come in and teach DBC. It really make me think about going back to the basics, which is what I’ve been focusing my designs around this year. I’ve made basic clothes—skirts, vests, jackets, things like that—and I’ve been focusing on the details. Having straight lines, no frayed edges. In the previous years my designs were much more conceptual, and I feel like I sort of hid behind flashier looks and focused less on those lines. This year, I’ve taken the time to have a nicer construction.

Now, I’m at the point where I want to distort and deconstruct. Now that I’m a fourth year and graduation is so close I can see it, I’ve been looking back on my college years. COVID changed a lot. During quarantine, I made a lot of food with my mom, and now I’ve been trying to deconstruct recipes and refigure them—the idea of distortion has been on my mind a lot. With my designs this year, I want to focus on the basics and distort them.

On his sketches:

These are really quick sketches. I had ideas in the fall and the deadline was coming up, so I came up with them really quickly. I don’t know how close any of my pieces right now are to these exactly, but I think they’re representative of the bigger picture. These were the starting point of me focusing on construction rather than the look, and starting off simple. The slip dress is simple, and the jacket is just a cropped jacket that I wanted to explore distorting the shape of. Playing with the silhouettes of clothes as well—the overshirt/vest and the skirt combination, the chains.

Right now I’m at a stage where I’m hoping for my models to come in and vibe with my clothing. Seeing if they’re comfortable with what I’ve made so far—how they literally fit, their personalities. It’s all representative of distorting expectations. For example, one of the skirts isn’t actually being worn, it’s just being used as a cover piece. It’s long and exaggerated. The pants in one design have been cut in half and are going to be attached with rings and chains. Separating and re-attaching, playing around with re-construction. 

What is your favorite aspect of the design process? 

 I tend to approach designing just as I approach creative writing, which is by having self-imposed deadlines and sitting there for hours, getting in the zone and churning something out eventually. I think that’s just how I’ve worked, as someone who writes and designs. That’s really helpful for me, to eliminate all the other thoughts in your head and really zone in on what you’re doing—having a playlist or something going on. No, actually, I tend to put the same music on repeat for hours. 

 On inspiration:

In my first year designing, I put three really masculine guys in dresses. Growing up Chinese, I would spend time in our restaurant drawing dresses and would have family members and friends say, oh, you shouldn’t draw dresses, dresses are for girls. I kept that in my mind. Clothes are so gender neutral, I don’t think there should be an association. Skirts and dresses are really comfortable—pants are restricting, I kind of hate it. I’ve just been having fun trying on all different kinds of clothes during this process.  

It’s been a long time coming. I feel like throughout history there have been waves of men wearing dresses and skirts, and now it’s sort of evolving into an anybody can wear anything type thing, which I really like. When I first approached men in dresses during my first year designing, I thought about Billy Porter wearing that fabulous gown on the red carpet. There was a tension there. Harry Styles really broke into the mainstream in terms of men painting their nails and wearing dresses—no hate on Harry Styles, I think it’s great there was some sort of spark there—but It’s been a long time coming, people have been doing it for a while. 

My parents have raised me to be really frugal, which I really appreciate. A lot of my designs are made from clearance fabrics, and last year the garments were made from actual trash and scraps. It’s been really fun to keep all these things in mind.

What are you looking forward to most about the show? 

 Being back in person! I’m so excited. I will say a caveat to that is now our attendees are going to be restricted again. Something really great about last year, being remote, is that anybody who wanted to watch MODA could see it virtually. But the energy of being in person is insane.

One of our faculty advisors was talking about how he went to a state school, and UChicago students don’t have that state school energy—and he said it, not me, so don’t quote me on that. But the fashion show is one of the events at the school where people are together and so lively. I do want to say that I think even now at this school, there seems to be this energy that’s very much restricted to people who, y’know, buy expensive clothing and show up to MODA front row. That dynamic still exists.

But so many different communities of people come together. I don't know what to expect from this year’s show, coming off the virtual one, but that's what makes it exciting. 

 On creating new experiences for designers:

When David and I were design directors, we really got an insider sense of control over so much, like being able to create a class of designers. We got to rework the budget, too, and were able to provide a good amount of money for people to really explore. It provides an opportunity for people to explore something without buying into it. We interviewed a lot of really cool kids who were interested in fashion, from the buying aspect to the construction aspect.

Through the process, we create a really diverse class of people that bring in a diverse group of models. It creates a unified experience at the show that brings all different types of people together. I don’t think anyone should ever feel intimidated. 

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Images courtesy of David Chen. See his designs at MODA Nouveau on May 6th, 2022.

Designer Profile 2022: Arjun Kilaru

I had the pleasure of interviewing Arjun Kilaru, third-time designer and ambitious triple major hailing from the San Francisco Bay Area. Besides designing for the show, he is also involved with the magazine, having started a fashion podcast. His past collections have explored a variety of topics including gender and the social aspect of fashion, so I was very excited to see what he is cooking up this year. Keep reading to find out!

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How far along are you in your design process? 

50% done with the sewing. I will probably get some more done today. I'm taking it slowly but surely. 

Have you encountered any challenges? 

Nothing crazy. I mean, I’ve done this twice now, so I'm comfortable with how everything goes. I know that it will turn out okay, and I’m not worried about it. I’m having fun, you know, my roommate’s modeling for me. 

Are there new discoveries or things you are experimenting with? 

I'm working on using more accessories. One of my pieces is going to be like a cloak that I'm making, for the person, I'm using a lot of accessories on the clothes. I'm using bobby pins and putting things on the pins.  

For your collection this year, what inspires you? What is your design philosophy? 

A: My artistic inspiration came from a class that I took in the fall in the sociology department about cults and new religious movements, so each week we went over a new cult in length, discussed the motivations, the leaders, and one of the things we discussed was the fashion. There's a lot of cults that have very distinctive outfits, and you know, I was very interested in how these organizations have used fashion as a way to control people and make them feel separated from normal society and a part of the specific community. That's definitely inspired my collection this year.  

Rajneeshpuram and his secretary Sheela. Image via

I want to go for a cult theme and specifically, I would say the cult of Rajneeshpuram inspired a lot of my outfits. It was near Antelope, Oregon in the 80s. They were a group of followers of this Indian guru who believed in free expression and a very communal type of lifestyle. They ended up committing bioterrorism, the largest biological warfare attack in U.S. history, actually. They sprayed a bunch of local restaurants with salmonella. The class was called the Prophet Q, it was marketed as a QAnon class, but it was really a cult of the week. I mean, they had very interesting fashion choices. They also wear the same outfits. A couple of other cults I was also interested in looking at, you know, Jonestown, there were extremely uniformed, everyone there wore the same outfits. 

I'm going to have two of my male models probably wear the same outfit or similar outfits, and my female models will be the cult leaders wearing cloaks.

A scene from Wild Wild Country, which is based on the cult of Rajneeshpuram. Image via.

What doesn’t inspire you? 

Probably TikTok, I don't know, I don’t like the influencers. What else... I'm also inspired by Christopher Nolan films. I've been watching a lot of those recently, and I like how deep they pull you in. Nolan is very industrial and big budget, maybe that’s how I feel about my collection. Maybe it's kind of how I feel. 

Has your design philosophy grown in the past few years?  

My themes in the past have been very broad. First year, my whole thing for sure was that I wanted to talk about gender. I did ok, but the theme was super broad. Last year, I talked about the idea of fashion as a means for self-expression versus a means for showing off your wealth. Why do people wear things? That’s why I used the Louis Vuitton print. This year, I like having a very focused theme with it being cult fashion. 

What are you looking forward to the most about MODA Nouveau? 

My parents will be here for first time with my brother, and they've only come to Chicago once or twice, so it will be cool to see them here, especially in the spring. That's what I'm looking forward to. I gotta make sure I get the tickets! 

Do you think there is added pressure due to the show finally being in person again? 

I’m sure there is, but I’m trying to not focus on that. I think I can make it happen in the time I have remaining, so I'm not super worried.  

What kind of person embodies your design? 

People who are open minded. Cult is a very interesting word because it has been historically used to oppress groups of people. If I was being very politically correct, I would use the term new religious movement. People who were inspired by, or not inspire, people who are accepting of that idea. People have different opinions and thoughts to them, but my models are all great and I'm excited to see the result. 

Can you describe some of the silhouettes?  

The cloak is going to be a statement piece. It's a black cloak, and I'm putting green lace on the back of it in the shape of a cross, and it’s going to be bound by chains to symbolize the oppressive nature of some of these cults. The chains are going to be all along the front of the cloak that I'm holding together with bobby pins. Then I'm going to put trinkets on the chains, and then my male models are going to wear robe type outfits, one of them will probably even be wearing shorts. The clothes are made of velvet, I use velvet a lot, and I’m making 90% of these by hand without a sewing machine. I prefer the accuracy. 

Designer Profile 2022: Isabel Sobolewski

Goodbye red coats and hello khaki trenches - the fashion show is coming, the fashion show is coming! As designers are sewing up their threads (read: preparing) for the show, I got a chance to catch up with Isabel Sobolewski, a second-year Molecular Engineering major and budding textile aficionado. As my Trader Joe’s tulips come into full bloom, I wanted to chat with Isabel and get her take on this spring awakening and how it has influenced her pieces this time around.

We chatted amicably for a while, getting to know each other a bit before delving into the nitty gritty details. We covered a lot of ground, from academics to style inspiration, and then dived headfirst into our haute investigation…

How does already having a show under your belt aid in contextualizing what you want to do for your pieces this time around?

This time around, I really wanted to focus on the technicality of my designs. I’ve been sewing since third or fourth grade, but I really want to focus on tailoring my pieces - like, I wanted them to look good up close. I want the seems to look straight, so I’m really focusing on making it look good in that way - from every angle, I guess.

How have you been able to build up to that? What is the process for you in terms of honing those skills?

I’m a self-taught sewer, so I’ve just been sewing a lot throughout the summer. Everytime I could, I would sew something, so now I’ve got an entire closet of outfits that I’ve sown. For the show, I’m making a pair of jeans, so I’ve been practicing jeans all summer - fixing things where I think they need to be fixed, so yeah. I’ve just been practicing and sewing a lot.

Cool, so when you’re sourcing materials for these projects, where do you go? Do you like using recycled items, or do you just kind of go to a textile shop and are like, “Yo, give me new material?” What’s your deal?

I first started out with muslins, like thin fabric so I know where I need to adjust. For zippers, I know the fabric there will be super thick, but thin fabrics help with the preliminary creation stages. I also have a lot of fabric at my own home and I practice on fabric that I would wear - like, I’ll have pants that I could wear if they turn out well. Yes - oh also, I love thrifting fabrics. I love going to thrift stores and getting blankets and sewing clothes out of them.

Why did you start using blankets?

Well, it’s essentially like two or three yards of fabric for, like, four dollars, when a yard of fabric would usually go for eight or so it really saves me money.

Okay, budding Biz Econ major instead of Meng…?

Haha, maybe…

So, you’ve been experimenting with sewing and tailoring - is that one of your goals for this Show? Are there more goals?

My biggest goal was to tailor my outfits because I don’t want to be, like, sloppy this year. I felt like last year I rushed myself, so this year I really wanted to get a head start and make it look good. I also want to make it look good on my models. That was one of my biggest goals - really accentuating my models and making them shine on the runway, I guess. 

I really like that as a focus. You also mentioned timing, and when I think about time and fashion, I think about trends, so I want to ask what your take is on the trendification of all things, like micro-trends, macro-trends, the works.

I’m all for it, like I kind of love when people just wear what they want to wear, and if they happen to like what’s trending right now, then [shrugs as if to say “That’s that”.] I’m not a big fan of fast fashion, though. I understand how Shein and all that is really playing into the microtrends, – but one thing that really surprised me is the claw clip, like that was a microtrend that has stayed.

Yeah, I think it might be the utility of it.

Yeah, I think it is. 

It’s one of those things that’s been around since the 90s, like scrunchies and claw clips. I wish that hair bobbles were coming back, like the little butterfly clips.

Oh, I love butterfly clips.

Love, love, love. Okay, cool. Since you’re focusing on jeans this time around, do you think that there have been specific changes between what you were working on last year and what you’re going to work on this year?

Yeah, so last year my theme was focused on the movement of fabric, so I had a lot of dynamic pieces. This year my theme is a little different. I collect rocks for fun when I go hiking, so I was like, “If this rock were to go have a girl’s night, what would she wear?” I’d say that this year, my pieces are a bit different - seemingly so, like they all look distinct and different from each othert, but if you understood my rock inspiration, you’d be like, “Oh, they’re like that,” – like, oh, there’s the marble, there’s the quartz rock, you know.

sketch 1

sketch 2

sketch 3

Do you attach vibes to each one? You evidently draw inspiration from the rock based on the context and theme you’ve just explained, but what about the rock influences that - is it the color, is it the shape, the texture?

It’s the color and the texture, I would say. That’s also something I look at when actually designing - the color and the texture of the fabric; I really love combining textures. It honestly comes down to textures, like for the quartz pieces, I’m using a different material that I would for the marble look - that one’s more sleek.

Do you think that influences the way that you explore tailoring?

Definitely, yeah. For the flowy fabric, it’s harder to work with, so I have to pay attention to that. For the quartz, it’s more of a structured look - once I put the boning in, I have to make sure its perfect for my model.

Oooh, so there will be boning…a little corset moment?

Yes, boning for a corset - I don’t want to reveal too much.

Exciting, my god, I’m so excited! What’s your favorite piece so far? Don’t give me too much, though, ha.

Um, what have I designed? Okay, um, I’ll tell you about the rocks. There’s marble, obviously the pink quartz, and an orange rock - I don’t know what it’s called, but its opaque with different orange streaks going through it. I chose the quartz one because I’m super girly and its a really girly outfit. Yeah, but all of them are super different from each other, so I really love all of them. I’m really excited to see the differences when they [models] walk - one of them is a clubbing outfit with pants and a crop top and, like, different textures all over.

Isabel’s Vibe Collage

Oooh, do you have any inspirations you’re drawing from, like fashion houses, brands, designers?

Personally, mine is Gucci. I’m a big Gucci girl. Some of their more outlandish designs I like; I don’t like their toned down stuff.

What do you mean by toned down?

Like, the old fashioned looks, looks with nothing new to them.

Like, is there no pattern or too much structure? What’s the deal?

Honestly, if there’s no color. I mean, no hate against it all, I love it, but I’m a color gal. In terms of designing, though, I kind of like doing my own thing. 

Do you find it difficult sometimes to do your own thing?

Sometimes, yeah. Sometimes I’ll scroll through Pinterest and I’m like, “Oh, that’s a cool idea. I wonder how I could reimagine that sort of thing.” Sometimes I’ll draw inspiration from those brands, but I have a pretty youthful outlook on desigining, like my pieces are meant for younger generations, so its hard to draw inspiration from, like, Versace and Gucci because they’re often meant for more mature people. 

Okay, so when you look at Prada versus Miu Miu, who would you gravitate more towards?

Oh, definitely Miu Miu, all the way.

Love, okay, so how do we feel about the Micro Mini™?

I don’t know, I feel like it’s overplayed at this point, like I saw this TikTok about how you can’t just wear the mini skirt. You have to wear the whole outfit; if you want to do a Miu Miu shoot, you have to wear the whole outfit. I think it’s cute, but it’s also, like, I don’t like how it’s kind of tailored to skinny girls - you don’t see enough plus sized girls in a Miu Miu mini. Like, my whole butt would hang out. I think it’s cute, but its for a very specific group.

Last year, you weren’t able to do the show live. How does it feel to be able to do things in-person?

It’s like night and day. I guess one of the biggest differences this year is that we’re allowed to do fittings with our models, which is really helpful. Last year, we couldn’t touch our models, so if something didn’t fit right, it’s like, “I don’t know what I’m going to do.” Now, it’s nice knowing that we have a venue and people will be able to come and sit to watch the show. Seeing the models and everyone’s designs is so exciting - I got goosebumps from just watching mine. So, yes, so exciting!

Do you think that energy and excitement gave you energy to keep propelling yourself forward? What was your takeaway from last year’s show?

Regardless of it not being in person, I loved every minute of it. I know I’m an engineering major, but I do want to pursue a career in fashion, and last year really opened my eyes to that fact. Seeing my looks walk down the runway, even if it was only in front of a camera, it was like, “Wow, these looks are mine, and no one else’s.” That’s a feeling I want to keep chasing - the show helped me find another passion of mine. 

When you think about specific words or specific moods that this collection will evoke, what comes to mind?

I think, like, fun and flirty - a Girls Night Out on the town - I want to be silly and vibrant with it! 

Designer Profile 2022: Otis Gordon

a pattern of anti-precision… 

“I’m a musician and visual artist and I think a lot of that blends into what I look for in fashion. I play jazz so I think, in my heart, I’m not really used to precision I make all my own patterns using some regular paper and tracing things that may work — and a lot of times it doesn’t. But that’s part of the fun for me. I like messing up. I’m not too worried about sticking to patterns or rules or stuff like that.”

Photo Courtesy of Otis Gordon: Paper and Precision

… with the audience in mind… 

“I try to keep the audience in mind (when designing). I try to put myself in the audience’s seat – or shoes. I think if I try to objectify myself from the scene and try to look at it as if I’m just watching another designer it makes me be critical over my own designs — which I think can be an echo chamber. So I definitely keep the audience in mind which helps me choose the materials and the shapes I wanna go for. I realised that — at least for this year — I don’t want to do anything overly-complex I just want to make something that looks good visually.”

… and a direct design philosophy… 

“My design philosophy is just do it, you know, in the moment, changing things, not sticking to the plan too much, and also just getting a lot of feedback from your friends that you respect. Get other heads in the scene especially if you have artist friends who you admire. They could really give a lot of valuable (artist-driven) feedback.”

Photo courtesy of Otis Gordon: an Artist’s split seconc

​… driven to a split-second

“ I think the most exciting part of the design process is right before you try something on. When you’re not really sure if it’s going to fit right or whatever — but it looks good. For me, a lot of times it doesn’t. Just that split second before you try something on. (…) I think it’s more personal and unique that experience. I’m glad that being a designer has given me that.”

Make sure to check out Otis’ fantastic collection at this Spring MODA Fashion Show.  

“Last year I was part of the show but it was all remote which was interesting. I’m excited to have an in-person show. (…) I hope that’s cool.”

-the words of Otis Gordon

Designer Profile 2022: Emily Lin

I had the opportunity to chat with Emily Lin, a new designer for the 2022 MODA Nouveau fashion show. We discussed her experience in DBC, the influence of meme culture on her three looks, the rise of subversive basics, and the contrast between the manmade and the natural.

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On being a new designer:

Emily Lin, new designer for MODA Nouveau

I've always been interested in fashion, which is why I joined MODA my first year. I’ve done a lot of graphic design—that's why I joined the marketing team—and I have a lot of experience with creative projects. I do photography in my free time, I paint, stuff like that. For me, creating clothing has always been really intimidating.

My friend has a sewing machine, and because of COVID she was sewing masks. I gave it a try and I absolutely failed—it was horrible! I thought it would be exciting to create clothes, but I was also scared to do it without a lot of guidance. So, when I heard that MODA had this program, I was like, oh, this is kind of perfect, because it would give me the opportunity to learn from someone who's professional, and in a less intimidating way where there's also other people who are learning for the first time.

I think coming to UChicago exposed me to a lot of people that do so many different things and are so amazing. It kind of inspired me to try to do more cool things myself.

 On Designer Bootcamp:

So, the structure of DBC is that it's a six, maybe seven week course. At the beginning you just learn how to use a sewing machine because there's so many different parts. We would learn different types of stitches—front stitching, backstitching, essentially the basics of construction.

The first week was really intimidating because a lot of things can go wrong in sewing. Usually it's really easy to fix after you've experienced it, but because I've never experienced it before, the first time things went wrong was always like, oh my god, why does like the front side of my piece look fine, but the backside looks like demonic? But we had an instructor there to help us fix things.

Gradually she let us use patterns—which is how you construct clothing most of the time, there's existing patterns and you modify them in order to create original designs. We made shorts first, then T-shirts, just worked through those things slowly to gain experience. After the program ended, we’re sent on our own but still have the instructor there to talk to about our designs, discussing what fabrics we were using, what patterns, and if they were suitable for what we’re envisioning. We were left in a good place. 

“You’re seeing all of the good sides of people in terms of their work ethic, and it motivates you to think about how you’re doing things, your own process, and how you can modify it. ”

— Emily Lin

 What is your favorite part of the design process?

There were many parts of it that were fun! Trying to create something that's original—the sketching part, for example—is really fun. As I was learning to sew, there was that learning curve that was kind of demotivating. I was scared that maybe I wouldn't learn in time for the show. But every time you finish a piece, the way that it all comes together is really satisfying.

You’re kind of constructing the clothing inside out during the process, so you can’t really tell sometimes what it’s going to look like on the outside—and usually it looks pretty janky on the inside. But once you flip it the right side you're like, oh my god, that's actually a pair of pants. And I think that's the most satisfying part. 

Emily’s sketches for her three looks: gaslight, gatekeep, girlboss

On design inspiration:

I’m someone who needs a concrete direction to start. I have to have a set direction that I’m going in, and then I go for it. My interest in fashion started when I wrote a paper on Chanel—learning about her life story, and the way that she got to where she was as a brand. All of her pieces are very classic, very simple, and that was kind of what I was aiming for. But at the same time I wanted my pieces to be interesting and unique.

On TikTok I found a series talking about Independent Asian designers on the rise right now. For example, there’s one named Calvin Luo, and he has some really cool modern takes on classic staples like blazers. Gaining inspiration from those aspects of fashion is what inspired me to create my designs. 

There’s this meme called gaslight, gatekeep, girlboss that I thought would be really funny to represent, to do one piece for each word. The more general theme is the corporate office. The aesthetic seems boring, and there's expectations as to how you're supposed to dress in that setting, especially for women. Skirts have to be a certain length, everything has to be a neutral color. The shape must be classic, nothing exciting. I was thinking that it would be interesting to add some details to the suits, or play around with other types of clothing that would make the styles more interesting—like creating an alternate universe where you could wear anything you wanted to the office. Nothing’s too specific yet, though. For the first one, when I was thinking gaslight I was thinking manipulative, soft, satin materials. Gatekeep is more aggressive in my mind—more dark clothing, string to tie garments together. Girlboss is a classic blazer look.  

On moodboards and aesthetics:

I knew I needed to look at a lot of different styles of clothes and see what type I wanted to create. I found that subversive basics appealed to me, so I looked for a few brands that specialized in those and incorporated them into my moodboard. I love the strings, the frills, the way you can customize how you wear the piece.

As I was making my moodboard, Sahana—one of the design directors—was telling me that I should incorporate other aspects, other visuals aside from clothing so the directors could get a sense of the vibe I was going for. I took her advice and started thinking about the setting I was imagining my clothing to be worn in. YSL, for example, is classic—there was a show in Paris where lights were coming out of the ground, and the ambiance looked really amazing. That’s where the Eiffel Tower comes from.

There’s some accessories I thought looked cool as well, along with boots constructed in cool ways. Margiela has really interesting shoes, the style, the metallic, it feels edgy yet feminine. In terms of makeup, I was thinking of something more ethereal. The ones that I chose for the moodboard have blossoms and butterflies, and when you think about the corporate setting, you imagine glass, concrete, something human-constructed. I want to create the juxtaposition between the manmade and the natural. 

Emily’s Moodboard

What are you looking forward to most about the show?

This is my first in person show. Last year I modelled for the show virtually, so online was my main experience. It was super, super fun to dress up and take pictures and all of that. Even though I'm not under the spotlight this time, I think that it's going to be more rewarding to see my creation on the runway. I'm most excited for people to see what I've been working on, because like sewing takes so much time. I probably spent like 10 hours on a pair of pants, and it seems so simple, but it’s much harder than it looks. Having people see that is what's keeping me excited and keeping me going. 

What was your experience like with other designers?

At the beginning of DBC we saw each other designs, and it was really, really eye opening. The design directors did a great job of choosing people with different styles of designing—people brought different cultural influences to the table, and so many different potential techniques. All of the possibilities within each person designs were really fascinating, and obviously we were all learning together, so it was motivating to see what others were doing. If someone finishes faster than you, then you're like, oh, maybe I can go faster too. But there's some people that go at a much slower pace, and they’re more precise in the way that they stitch. You're kind of seeing all of the good sides of people in terms of their work ethic, and it motivates you to think about how you're doing things and your own process and how you can modify it.

A fun part was seeing which fabrics people were buying, because we went on a trip together to look. People got really interesting stuff, like faux leather, vinyl, materials like that. We mostly work on designing in our own free time, so we don’t run into each other often because everyone’s schedules are so busy, but occasionally you'll be in the costume shop and you'll see someone else and it'll just be a good time. Fabric shopping was so overwhelming because there's this discount outlet for textiles in Pilsen, it’s this humongous warehouse—probably like, two times the size of Costco. It’s huge!

What advice would you give for someone who’s interested in designing next year?

You should just do it. You should apply. I was a little intimidated—I may be an artistic person in general, but sewing is different, it’s manual construction which isn’t my strong suit. It’s not something intuitive, but it’s so fun. Once you get good at something you’ve been wanting to be good at, it’s so rewarding. Learning to sew is practical too, you cane make anything and use it later on. You meet a really amazing group of people who are just as creative, and especially if you haven’t had any exposure to MODA yet, this is a great way to do it. Your work gets so much visibility and the credit it deserves for your efforts.

The Blog creates amazing content, as well as the Magazine, and this is a time where all the branches come together to collaborate in ways we don’t see often. It’s an irreplaceable experience that everyone should go for if they’re thinking about it. 

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Images courtesy of Emily Lin. See her designs at MODA Nouveau on May 6th, 2022.

Structure, Silhouette, and the Body of My Dreams

I found my dream shirt on TikTok the other day. Let’s just cut to the chase.

I don’t follow a ton of fashion accounts on TikTok—it tends to get a bit repetitive around there, all screen printed blanks and yo ID on pants? comments. That last part may be a bit hypocritical coming from me, someone who scoured the internet to find one specific shirt. I think my algorithm is screwed. 

Anyways, Carla Rockmore.

@carlarockmore: Intellectual Architect or Mall Goth?

I first encountered her on Twitter, a quote tweet of her rocking a vintage quilted dress she found in Amsterdam whose near clone eventually made its way down the Gucci runway. The quote tweet is long lost in the world of that little blue app, but it said something along the lines of, “She never misses!”

Though her closet may be drastically different from mine, I live for the eclectic. As she styled it, just a few accessories, a pair of chartreuse pumps, and a turquoise bag, she made the briefest of commentaries on how creatives absorb what’s around them—knowingly or not. I had to see more.

The shirt. In a styling video that ventured from mall goth to architect-chic, she donned the most elevated of white button-ups: classic collar and clear buttons with a side of flouncy, loosely ruffled asymmetry to the point of cape-adjacency. My thumbs ran to the comments.

I hadn’t heard of palmer//harding. The about section of the website tells me that founders Levi Palmer and Matthew Harding are two sides of the same coin, designers who find electricity in the threshold between opposites:

masculine // feminine, hard // soft, structured // fluid

I kept eyeing the way the front cut of the shirt fell right at Carla’s waist. The way the back was just a touch from brushing the ground. The way it’d move as she’d move. Have you ever worn a garment that changed you? 

Robert Geller Linen Tee in Black

My favorite piece in my closet is a Robert Geller long-sleeve tee I found at my job, second-hand. The linen knit makes it easy, breezy, and slightly sheer, and the inconspicuous raw hem detailing that lies an inch under the collar brings attention to the neck.

It’s a few sizes too big for me, the neckline exposing just the right amount of collar bone while the sleeve-length swathes my hands in a ridiculous amount of sweater-paw action. In the cool way.

It lands right above my knees in dress-like fashion, and in the right light you can see everything underneath. It’s midnight black. It’s menswear cut straight so the fabric moves and gathers on top of even a slightly curved waist.

What I mean is that it both cloaks and exposes me in all the ways I want it to. It begs questions. Are you close enough to see the details? Are you in the right light? What would you see if you got even closer?

It’s just a black tee shirt.

But detail is sensual. Silhouette is sexy. It can create a new body. 

I like my body most in that shirt, and I’ll wear it until it dies. Whichever comes first.

The exact shirt Carla donned in her video doesn’t exist on the palmer//harding site. The closest runner-up is the JOY LONG shirt, retailing at $476. I think the fact that such a similar version exists hurts more than not being able to find it at all.

palmer//harding

joy long shirt

The back of the JOY LONG shirt stops behind the knees of the model in a way that feels intentional, not something chalked up to sizing differences. The buttons are brown, not clear, and seems to stop at the soft tissue right below the sternum rather than the waist. I know these things because I’ve studied Carla’s TikTok religiously. Even if I found her version, I’d never be able to afford it. I’m sure a dupe exists elsewhere. 

Until I find one, I’ll keep imagining myself in it, the drape and sheer of the poplin in constant motion, occasionally gleaming. I’ll dream of it.

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Featured image via the palmer//harding website.

MODA Blog Winter Favorites

Welcome to MODA Blog Favorites! This is our series where MODA Bloggers, photographers and editors let you know what we’re loving! From binge-worthy series, to our favorite books to some Holy Grail skincare products, the team wishes you all a safe, and healthy spring quarter. Here’s what the team is loving, hopefully bringing you a dosage of inspiration!

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Nadaya

Paco Rabanne, Phantom

So, this technically isn’t my cologne. I got it as a gift for my best friend, and since I’m with them nearly 24/7 (roommate privileges) I’m always getting the essence. Not cheap, but I saved up and I love my friends.

I ran out of my own personal favorite fragrance and I’ve been way too lazy to re-up, so I’m living vicariously through them. I’m super sensitive to colognes & perfumes, but this one is creamy, woody, and earthy in all the right ways. Cozying-up-by-the-fire type things, perfect for the colder months.

Aashana

The Ordinary

Simple, effective, and looks great on your dresser! This is the first time I’ve had an actual AM/PM skincare routine, and it’s been such a wonderful winding down act of self care. The Ordinary is incredible because you can mix and match your own routine, and there’s tons of websites and blogs to help you do it. Plus, super pocket friendly––and who doesn’t love cheap things?

Matthew Sumera

Telfar Duffle (small)

The perfect bag. The perfect size. My go to going out bag. It can hold everything I need— my vape, poppers, and crystals.

Vivian

Acne Studio Scarf

I am not good at dressing for Chicago winter, but having a big, warm, colorful scarf like this changed my fashion game because I am no longer shivering in the wind. Purple is my favorite color and this pattern goes with most of my wardrobe. Even my lazy day sweatsuits look cute after I put this on!

I Know A Place

Valentine’s Day, the day of love. Too bad we can’t love and be loved on any other day of the year, right?

Just kidding, promise. We’re fun around here.

College is prime-time for dating, and there’s something so vulnerable about being The Date Planner. The stakes are high (or low, depending on what you’re looking for). Location is a symbol of sincerity, of “how into me are you, really?”

“So, what are we?”

What do the kids say?

“I know a place.”

What is that place for you?

The gardens of Millennium Park? The sticky seats of a movie theater? Your freshly-made bed?

What about around campus?

Shinju Sushi? The Pub? The rooftop of whichever school building with the best view?

Enough of that. Anything can be a date with the person who has your heart.

Here, the Blog navigates the charming and sometimes uncanny spaces that exist on campus, and the ways in which love can brew all around us. Anywhere, anytime.

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This shoot was styled by our talented crew and models themselves, with garments and accessories from their own closets.

Click photos to enlarge

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A Meal for Two

Setting the Table

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Gift Exchange

For Me?

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Our Twin Selves

My New Face

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The Lovers

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Cast

Photography & Editing: Sonia Chang

Models: Fatou Ndoye & EJ Song

Written by: Nadaya Davis

Creative Director: Nadaya Davis

Crew: Vivian Li, Matthew Sumera, Anna Selden, Kaja Muchova (hand cameo), Laura Sandino, Ivana Del Valle, Nadya Osman, Nadaya Davis, Vivian Li

Thank you to the staff of Cobb Cafe for allowing the Blog to stay after hours, and a special thank you to Arthur Oien for hanging behind and tolerating us!

Thank you to our amazing crew of Bloggers for working hard to bring this shoot to life!

Find more of Sonia Chang’s work here on Instagram.

How to Curb Your Shopping Addiction

I confess I am a shopping addict, and probably have been since birth. I assume it’s in my DNA, passed down from my fashionable mother who has an undying love for stilettos. Growing up, nothing had allured me more than the mall. Leaving Abercrombie with a bag depicting a shirtless man on my arm infused a sense of power and completeness in me. In middle school, the mall even became the principal hang-out spot. With endless rows of stores containing endless racks and piles of items to buy, how could I not be sucked in?

However, after the serotonin boost from buying something has subsided, I am often left feeling guilty and dissatisfied. I second-guess my purchase and ask myself, “how much use are you really going to get out of this?” As I’ve become more aware of my consumption and how purchases are often unnecessary, I’ve developed a few ways to curb my shopping addiction. Hopefully, these measures will help you too, and we can combat consumerist culture together.

Image via Modsy.

Look inwards: why do you want to buy?

When I get the urge to shop, I find that it is often a response to some emotion I am feeling, as opposed to a reflection of a need I need to fulfill. I ask myself a series of questions to assess why I am getting a desire to buy new things. Am I bored? Am I sad? Am I anxious? Do I need something exciting to do? Am I thinking about fashion and outfits and need a way to actualize them? Oftentimes, I will find my answer when I get a sense of how I feel. From there, I will find a better way to respond to these emotions than through shopping.

What is motivating you to shop?

Our daily lives are inundated with marketing and advertising that are intended to motivate us to buy the product they are selling. A phrase I have often heard about advertising on social media is that the users are in fact the product, and our time and space on our social media platforms are being sold to companies to use as advertising space. Though having a “shopping addiction” can certainly relate directly to socioeconomic privilege, many people feel motivated to consume regardless of the means they have. We should all begin to ask ourselves, what forces outside myself are pushing me to buy more than I need?

Image via Cosmopolitan.

Shop your own closet.

Look back to your own closet and find the pieces you wear the least. Challenge yourself to style them in a way that you like. You already own this, there is no need to buy more when you already have things that you are not getting utility out of. If you are into clothes, it is a super fun challenge to style unused clothes in an interesting way.

Trade clothes with friends and family.

One of my favorite ways to shop without actually shopping is by trading clothes with my mom and my sisters. Though I already have plenty of hand-me-downs from all of them, we sometimes go through our closets and offer clothes we don’t get enough use out of to the others. Not only does this allow me to style pieces I wouldn’t normally buy, but also it’s more sustainable and doesn’t cost anything.

Image via Harper’s Bazaar.

When you do decide to shop, make it better for the world: buy secondhand.

Over the past few years, I have transitioned away from buying retail clothing to thrifting. If not shopping at thrift stores, you can access secondhand clothing through online reselling platforms like Poshmark, Depop, and eBay, or the RealReal and Grailed for luxury brands. I find that shopping on secondhand online platforms reduces my desire to consume since I am often searching for a specific item, rather than passively browsing through a store that has many pieces that would appeal to me. Furthermore, secondhand stores and websites are full of exciting and eccentric pieces. When browsing, this forces you to pay attention to which pieces you are attracted to which helps solidify your sense of personal style.

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Featured image via Refinery29.

A Week of Looks: Maatkara Wilson

A Week of Looks’ aim, at its creation, was to provide deeper insight into the daily fashion choices of people with eye-catching and thought-provoking personal style. In this fourth installment, Maatkara Wilson, a current second year at the college, breaks down her style and where she draws inspiration from. Here’s a little more about Maatkara:

My name is Maatkara and I am a second year at the college. I’m a Global Studies major and interested in International Relations and Digital Media aesthetics, so I might be coding social media bots sometime soon, who knows. I grew up in various cities in the US and abroad, but my current home base is Shanghai. 

I‘ve worked in social media marketing and other things, but I am now a professional Bookshelver. On campus, I’m a member of Off-Off Campus, an improv comedy organization, and hope to get involved in like a podcast or something - it’s a great medium for information dissemination. I’m interested in all things, from surrealist propaganda to puka shell necklaces, and I use my work, fashion and media to express this as much as possible.

Is there anything in fashion that scares you?

Fashion, to me, is defined by shapes and fabrics that are meant to be dependent and reliant on your emotions and confidence, so I think I’m mostly afraid of the insecurities I may feel and how they could potentially manifest through my clothing. So, with fashion itself, nothing really scares me and I look forward to developments and trends, but with myself, absolutely. 

How can an outfit dictate your mood? 

If a piece doesn’t drape nicely on the silhouette I have going on that day, I’ll get finicky with it, and when that happens, I focus too much on the physical clothes, how they fit, what’s being unflatteringly highlighted, how it SHOULD look, etc. This kind of sends me into a neurotic tailspin, but it’s a journey, and I feel myself growing with each negative emotion and bad mood (I think). 

How do your style choices change from day to day?

One time my friend told me he doesn’t always recognize me because I don’t wear the same outfit many times, so there’s that. I definitely do wear one outfit many times, but I always mix and match to keep things funky. I have trouble with monotony and planning, so my clothes must be a visual manifestation of that mellow chaos.

Monday

What was your inspiration for that days fit? 

I’m not particularly sure I had a direct, like, tangible inspiration for this fit, but I think subconsciously the sweater/slacks combo came from “Femme Lawyer Casual Friday at Downtown City Firm” vibe, but she has a quirky date after work. Also, I love interesting ABAB patterns, so I played with the levels of the brown and yellow, both with my clothes and on my skin. I guess with the white as well, funny. 

What are you wearing? 

In this, I am wearing a yellow button down cardigan with brown slacks, a brown suede trench coat and Doc Martens platform oxfords. For accessories, I have pearl C shaped earrings, a silver and diamond necklace, a friend’s gold signet ring with a square of malachite in the middle (might need a fact check), and white socks. 

Tuesday

What was your inspiration for that days fit? 

I like teal and brown together, but I had no brown bottoms available and acceptable for use, so I grabbed a cute lil black nightdress for the base. I added this scarf because I couldn’t find my big fluffy one, and I wanted to keep my neck warm. I do not think this adds to the outfit, but my choice has been made, and, you know what, I will stand by it. No other special accessory choices, unless you count the strategically placed White Sock At Top of Boot Peek, which I definitely think is legitimate. I love the White Sock At Top of Boot Peek, and I think everyone should try it.

What are you wearing? 

I am wearing a really awesome sweater whose pattern I can only describe (“incorrectly,” says the fashion student) as Osmosis Jones’ guts. Yeah, and a black slip dress, a thrifted brown suede thigh-length coat, white socks, black Doc Martens and a sequined blue infinity (no longer) scarf. 

Wednesday

What was your inspiration for that days fit? 

Remember what I was saying about ABAB patterns? I did it again, I fear. I suppose now it’s ABCABC because there are three colors - red, black, and cream. When I dress, I mostly think about patterns and shape, so if my pants are long, I like making my coat long, that kind of thing. I also love round edges, so the beanie I was wearing made my head amazingly round and is kind of imitated by the round bit at the top of my Converse(s?). I just realized this, looking more closely, that the red and black stripes on my sweater are kind of imitated by the red and black panels on my shoes. The subconscious mind, what a thing indeed.

What are you wearing? 

Everything from the neck to the ankle is either thrifted or from my Mommy’s closet. I’ve got on a red and black striped button-down sweater, some black pinstripe slacks, a brown trench coat, some red and black paneled 70s style Converse sneakers and a cream Zara beanie. Fun!

Thursday

What was your inspiration for that days fit? 

I was mostly worried about how cold my torso and arms were going to be due to the little premature coldfront we recently had, so I tried some layering with a turtleneck and some shirts that don’t fit me as nicely as they could alone. I really loved the butterfly decal featuring through the straps of the little jersey peplum shirt, so I just left it at that. Weather also affects my mood majorly, so the rest of the fit was like a disjointed combination of blues and blacks because I associate those colors with frigidity and, like, a biting cold, which that day was.  

What are you wearing? 

I am wearing my Mommy’s grey turtleneck, a thrifted pale pink top with butterfly decals and rhinestones with a black deep-V peplum on top, and a blue Uniqlo coat over it all. I’m also wearing some black pink-pinstriped flare pants with these UNIF boots I bought on Depop. On my neck, I am donning a sequined blue infinity (no longer) scarf (consistency). 

Friday

What was your inspiration for that days fit? 

To be completely honest, I was really pulling something out of thin air with this one because I still question my decisions. What I love, though, is that I focused on a specific blue outline on one of the patterns on my vest, which ended up working nicely with the blue hue of my dress. I ended up kind of reconciling the red and the blue on my sweater and dress with the red on my cowboy boots - coolness of the red = brightness of red on sweater and coolness of blue on dress. Style Math…?

What are you wearing? 

I thrifted the dress, the white shirt and the vest, and bought the red ACME cowboy boots on Depop. 

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All Images courtesy of Nicole Helou

Diana Vreeland: The Eye Has to Travel

Have you ever watched fashion documentaries? The directors, through the best aesthetics, allow insiders in the fashion industry to tell their stories and share their insights.

Diana Vreeland: The Eye has to Travel, released in 2011, has always been in the top 10 must-watch fashion documentaries—and I finally watched it this week. The documentary includes interviews of Vreeland with George Plimpton for her memoirs, the models and photographer who worked with her, her celebrity friends, and her family members. Through these different angles, a Diana who is saucier than Devil Wears Prada and lived her life to the fullest is presented.

Interestingly, one of the directors, Lisa Immordino Vreeland, is Diana’s granddaughter-in-law. Though Lisa had never met Diana, she had all the access and connections needed to make this a successful documentary, making it a tribute in turn.

“ The best thing about London is Paris.”

— Diana Vreeland (Harper's Bazaar UK)

Born in 1903, Diana Dalziel was the eldest daughter of American socialite Emily Key Hoffman and Scottish stockbroker Frederick Young Dalziel. Her early childhood home in Paris was frequently visited by leading artists at the time. As they immigrated to the United States, Dalziel started attending Brealey School to study ballet. When she was 18, she married the love of her life—Thomas Reed Vreeland—and gave birth to Tim and Frederick. She started working at the age of 33 as Harper’s Bazaar’s editor, then became the editor-in-chief of Vogue 26 years later. At the age of 70, she became the special consultant to the Costume Institute of the Metropolitan Museum of Art.

Her intuition towards fashion and her eyes for talent are impeccable. The Great Fur Caravan is one of the most breath-taking series I have seen in fashion magazines, and this 1966 series has proven its timeliness. The twenty-person crew from Vogue made an unprecedented journey to Japan with Richard Avedon, capturing a love story featuring supermodel Veruschka.

Two of the 26 page series

Featured image via

The narrative is about a girl who travels to a foreign country and falls in love with a Japanese giant (the male model is a 7ft sumo wrestler). The photos are truly breathtaking, a merging of art and fashion under an exotic and dreamy setting.

Rumour has said that this shooting cost one million dollars, which would be equal to modern day seven million dollars. It is definitely one of the most audacious projects that Vreeland has spearheaded, but I think the final result has proved its value.

Featured image via

Diana wasn’t pretty by society’s standards, and her mom would even call her ugly, but she has never tried to hide her imperfections. She created her own personal statement and style, which ensues in her work as well.

For Harper’s Magazine, she opened up a column called Why Don’t You? In this column, she wrote down eccentric style ideas that were best enjoyed as concepts as they were difficult to actually execute. Nonetheless, the ideas were playful and precious and could always put a smile on readers’ faces. She is not telling readers to do something a certain way, but shows them that there is another way of doing something. For 26 years, the column shouted freedom and invited the reader into her creative world.

WHY DON’T YOU…?

“ Paint a map of the world on all four walls of your boys’ nursery so they won’t grow up with a provincial point of view?

Cover a big cork bulletin board in bright pink felt banded with bamboo, and pin with colored thumb-tacks all your various enthusiasms as your life varies from week to week?”

— Diana Vreeland (organized by Harper's Bazaar Staff)

Vreeland was not perfect. As a boss, she was strict; as an editor, she often went beyond the budget; as an individual, she over-romanticized things. However, she was special and not afraid to be quirky, and that’s good enough.

The 85 minutes documentary allows the audience to have a glimpse into a fashion pioneer’s life, and is just perfect for a chill night.

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