Birkenstocks have always been all the rage in the Pacific Northwest. But lately, they’ve become a trend with no boundaries. New styles of Birks have made them more versatile for different clothing styles and lifestyles. Take the quiz below to find out which Birkenstock is best for you!
The 90s are alive and well . . . on our heads. In the past year, we’ve seen a revival of velvet, chokers and fresh sneakers. So it only makes sense that hairstyles are following suit. The fabled man bun has become a recent sex symbol as the movement of “lumbersexuals” gains notoriety. Celebrities such as Colin Farrell, Orlando Bloom and Ezra Miller have turned long, unruly hair into sultry and luscious locks. The topknot, a refreshed take on the half-up/half-down hairstyle is simultaneously coming into vogue. Actresses Kate Mara and Sienna Miller recently wore them on the red carpet.
For many students at the University of Puget Sound, topknots and man buns are a matter of convenience. Junior Anna Pezzullo returned to campus after a semester abroad in Denmark, where she noticed that topknots were prevalent. “The weather in Denmark is pretty much guaranteed windy or rainy, making the topknot favorable,” Pezzullo said. “Scandinavians live in a climate similar to Washington, so it makes sense that topknots are all the rage at Puget Sound right now.”
Apart from weather, the student body at Puget Sound finds these hairstyles to be generally comfortable for a multitude of active situations. They can be sported at the gym for short-haired exercisers who have the inability to fit all of those wispy hairs within a single hair tie, sans bobby pins. They also keep hair out of the eyes while biking to and from campus. Word on the street is that a certain gentleman and his manbun even summitted Mt. Rainier this past summer.
Manbun-wearing Junior Eric Rauch agrees with Pezzullo on the convenience factor of his “do”. “For me it began simply as a purely functional way to get the flow out of my face, but then it quickly transformed into my own entity,” Rauch said.
Aside from being manageable, topknots and man buns are chic. They have the fun of a ponytail and the sophistication of a bun. These hairstyles pull hair away from the face, giving a polished, yet youthful, vibe. They are fitting to wear with both casual and formal attire.
For those manbun hopefuls who are still in the process of growing out their tresses – fear not. Your awkward mullet stage will pass. “I did not purposefully grow out my hair for the manbun, but it started with the mullet,” Rauch noted. “But as the mullet grew, I yearned for overall long hair partially inspired by the likes of Brad Pitt in Troy. Before I knew it manbuns and topknots were everywhere.”
The future of manbuns and topknots is bright. They are extremely versatile in their current state. However, you can up your hairdo by throwing a braid in it, or even bling-it-out for springtime with a small garland of flowers. The possibilities are truly endless.
(Linked from The Trail)
Photos by Ken Aviananda
As part of my senior thesis project, I wrote a literature review regarding fashion theory and its relation to identity politics. It’s a topic near and dear to my heart. Give it a read if you dare!
Fashion as a Means of Identity Expression
The works on fashion theory that I have selected examine clothing as a way to both stand out from, and fit in with, certain cultural norms, making clothing an indicator of personal identity and public representation. I have split these theories into the following sections: identity and agency, group identification, culturally situated standards, class, and the development of clothing trends. Additionally, I have selected various ethnographic works on clothing that differ in terms of place and date in order to include a diverse sample. Through reviewing this literature, it is my goal to assess various fashion theories in order to apply them to the distinct ethnographies I have chosen to analyze.
Clothing choice is a form of agency that allows the individual to selectively display his or her identity to the public (Pham 2011; Crane 2000; Norell 1967; Finnane 2005). It puts the ability to present oneself in the hands of the agent. Brenner’s work on Muslim women living in Java highlights this theory in her exploration of the new, local trend in veiling (1996). Veiling is not a historically grounded tradition in Indonesia, however, its popularity is growing in women who decide to remove themselves from their pasts and mark a new awakening into the practice of Islam. Through the process of veiling, these women choose to represent themselves as devout Muslims. They differentiate themselves from non-veiling Muslims in order to portray their deep religiosity to the public.
However, while fashion is an individual choice, it is widely used as method of identification with specific groups, cultures, and religions (Miller 1993; Simmel 1957; Thompson 1997; Sproles 1974; LeBlanc 2000; Crane 2006; Finnane 2005; Jones 2007). Thus, dress can also be used to portray a group identity to the public. Sproles argues that fashion is “temporarily adopted by a discernable proportion of members in a social group because that chosen behavior is perceived to be socially appropriate for the time and situation” (1974). Therefore, he argues that fashion’s primary use is not to display individuality; rather, it is employed so individuals can find a sense of belonging through conforming to group norms.
As stated above, fashion is used as a social indicator of affiliation with cultures, groups, and belief systems. Individuals who dress alike are believed to be somehow linked to one another. LeBlanc’s ethnographic work in Bouake illuminates the fear of standing out by wearing clothing that are not the norm (2000). When asked about veiling in public, one of her subjects stated: “Most of my friends are not Muslims. How could I wear the veil when I go out with them? It would be embarrassing. It would look very odd. I would not feel at ease” (463). Her subject chose to conform to the dress of the group of her friends even though it contrasted with the religious garb she was supposed to wear in public. She prioritized her group identity over that of her personal identity out of fear of being ostracized.
LeBlanc states that fashion is a way to locate oneself within a societal setting (2000). Different types of clothing (cloth and material), patterns, colors, forms of draping, and ways of covering the body are all culturally situated (Hansen 2004; Heath 1992; Crane 2006; Jones 2007). Clothing is thus a developing presentation of cultural values, standards, and principles. Hansen provides a regional tour of clothing and its symbolic meanings cross-culturally (2004). For instance, changing political regimes have had a profound effect on the shifts of dress in Latin America. At the same time, there has been a historical continuation of the importance of local garb of the Pacific Islander population in relation to ceremonial symbolism. The comparison of these two examples shows how cultural, political, and geographical differences influence clothing, situating the development of dress in everyday life.
In the past, fashion was utilized in order to purposefully differentiate between social classes (Crane 2000; Summers 1970; Evans 1991; Simmel 1957). Simmel’s theory on the adoption of clothing trends states that higher social classes set trends that eventually trickle-down to the working class (1957). The working class then adopts that trend to associate with the elite. At that point, the higher classes select a new trend in order to differentiate from the visual identity of the working class. However, this theory has become outdated due to the increased intermixing of classes and culture through processes of globalization. As Hansen argues, fashion influences travel in all directions through class stratifications because of increased social connectivity (2004).
Both personal identity and clothing trends are constantly refashioned. As already discussed, shifts in clothing trends no longer follow a trickle-down pattern. Rather, they are created through social combination and networks of cultural collaboration that are at work, yet they remain unseen (Godart 2009). Therefore, group identity is the true shaper of fashion adoption and change. An individual may feel as though they have a unique sense of fashion; yet, they either consciously or subconsciously picked up that idea from someone else in a sort of unknowing conformity. Increased globalization and worldwide social interconnections created a blending of dress, challenging the classical hegemonic model of western imperialism in relation to fashion (Bikhchandani 1992; Hansen 2004). The exclusivity that once defined the world of fashion has opened its doors to the diversity of culture through means of accessibility, such as television and the Internet (Entwistle 2006; Finnane 2005; McRobbie 2002).
The exploration of dress and identity draws upon deep, cultural meanings about personal independence, group affiliation, and changes in trend adoption over time. While it is not comprehensive, this literature list has allowed me to develop a broad understanding of the ways in which identity and fashion coexist.
There’s nothing that tickles my fancy quite like Mara Hoffman’s collections – and her latest one is no exception. Really, I was just getting amped up for fall clothing (chunky sweaters and leather skirts galore), but after seeing these looks, I’m already craving spring. Phenomenal patterns? Check. Vibrant colors? Check. Elegant silhouettes? Check. Now, all I truly want for Christmas is a closet full of Mara Hoffman’s Spring 2015 Ready-to-Wear collection. But can you really blame me?
Let’s start with these maxi dresses: ab-so-lute-ly stunning. They would look truly flattering on any and every body type. Throw on some chunky wedges and an wrist full of thin silver bangles and you’re good to go!
Here are my other favorite looks from Mara Hoffman’s new collection. Enjoy!
(All photos from Style.com)
New York fashion week just started off with a bang, and I couldn’t have been more excited about Prabal Gurung’s Spring 2015 Ready-to-Wear collection. I just about melted over his sporty, Himalayan-inspired Fall 2014 Ready-to-Wear, so I was ready to see what Prabal Gurung would do next. And I was nothing short of amazed! His mix of sporty pieces with flowing detail creates the perfect concoction of style.
But what really caught my eye were these two high-neck, flowing gowns. (They are seriously works of art.) The accent colors in each dress are strokes of design genius – and they just look downright cool.
Prabal Gurung even launched a new shoe line that was featured in his runway show. So enjoy that little bit of eye candy, too!
(All photos from Style.com)
Little known fact: Indonesia is the largest Muslim country in the world! Despite its overwhelming heat and humidity (96%….ouch!), it’s appropriate to cover your shoulders and legs while in the city. Because of the intense mugginess, that meant lots of drapey layers, which ended up being rather comfortable. I was wearing relaxed and loose clothing that I practically could have been sleeping in, so I coined the term PJ chic!
Since being back from Indonesia I have certainly continued to embrace this PJ chic attire. I try to stay away from over-patterned, bright harem pants because they are hard to pair with sophisticated tops and jackets, so neutrals are the way to go (if you don’t want to look like MC Hammer, that is).
So my advice for wearing easy lounge pants that you can convert to a more formal setting? Keep them neutral, and try to stay away from crazy patterns. I always like wearing mine with booties, but you can also spice them up with chunky heels for a boho vibe. I own the Talula pants posted above in black, and I kid you not, I wore them for 3 days straight after buying them. They are unbelievably comfortable, and they hit the ankle at just the right spot! Here are a few of my other favorites:
I promise, once you start wearing these pants, you’ll want to say sayonara to your jeans!
Above: Talula Los Feliz Pant
This summer I had the opportunity to conduct research in Indonesia for one month. I traveled around Yogyakarta, Bunaken, Manado, Bali, and Lombok, experiencing a broad array of cultural tradition, religion, food, and art. My research was based around fashion and identity formation, so I was lucky enough to get up close and personal with the intricate designs of Indonesian batik – and I even got to do it myself!
Batik is a form of fabric design in which wax is applied to cloth and then dyed various times. The fabric remains its natural color where the wax was applied because the dye is unable to penetrate through it. Wax can be applied to the fabric multiple times, creating detailed and ornate designs. The artisans who design batik garments spend months creating them. (I bought a batik tapestry that took 2 months to make!) The labor that goes into creating these works of art is truly awe-inspiring.
After returning to the states, I began searching for garments that had batik motifs. Sure enough, I found my pot of gold at Free People. I have been Free People obsessed for the past 7 years, and season after season, it never lets me down. So I was particularly excited to find a little slice of Indonesia carried in my favorite store. These festive scrunchies are perfect for throwing your hair up on a lazy Sunday morning, or keeping your hair out of your face during a hot yoga class. And I’m mildly obsessed with this white patterned kaftan. I love the ease and effortlessness of it. Throw it on, add some brass bangles and beaded sandals, and you’re set for the day!
A huge piece of my heart still remains in Indonesia, but I know I’ll be traveling back there soon!
Above: Hyperion Bodycon Dress