Commodifying Control
There’s something hauntingly meticulous about a regime that tries to control both the economy and the hemline. In authoritarian states, fashion is not left to artistry, rather it is nationalized. Structured. Watched. Reduced to utility. Yet within these constraints, style doesn’t disappear. It adapts. It resists.
In post-World War II Eastern Europe, fashion became an instrument of ideological performance. Communist regimes, especially in countries like Romania, the USSR, East Germany, and Yugoslavia, emphasized the erasure of class distinction. In practice, fashion was used to cultivate a new class entirely: the ideal socialist citizen.
The look was often utilitarian and unadorned. State-owned textile factories churned out a variety of monochromatic pieces, designed more for ideological correctness than individual expression. Luxury was equated with decadence, Westernness, and bourgeois excess. Style was stripped of ornament, just as political speech was stripped of dissent, unless your family was a part of the upper echelons of the communist party, or had access to private tailors.
By the 1970s and '80s, fashion publications like Burda, printed primarily in Czechoslovakia, became coveted contraband. Underground economies emerged around tailoring and textile swaps. Women repurposed curtains, dyed fabrics in bathtubs, and reverse-engineered patterns from smuggled catalogs.
Still, fashion wasn’t only a space of quiet rebellion, but one of performative allegiance. In North Korea, for example, state-sanctioned haircuts and lapel pins bearing the Supreme Leader’s face remain mandatory. In Ceaușescu’s Romania, clothing production was centralized under the Ministry of Light Industry. Scarcity was built into the system with rations on fabric, limitations on colors, and surveillance of excessive dress all served to remind citizens that beauty belonged to the state.
An image capturing a fashion show in the People's Republic
Post-1989, the collapse of these regimes left a cultural and aesthetic vacuum. The flood of Western fashion into post-Soviet spaces created both exhilaration and disorientation. Brands like Adidas and Levi’s gained iconic status, less for what they looked like, and more for symbolizing access, autonomy, and capitalism..
Decades later, designers have begun referencing post-Soviet aesthetics on runways. For example Demna, of Balenciaga and Vetements, and the so-called “Eastern Bloc minimalism” that circulates in fashion editorials. But here, too, lies a tension. What does it mean when authoritarian symbolism is repackaged as a trend? When the aesthetics of suppression are commodified, detached from their original context?
State-owned style is a reminder that clothing is never apolitical. The silhouette of control and the shape of resistance can look eerily similar. Even under regimes that tried to regulate color, fabric, femininity, and form, style still found a way to breathe.
Xoxo,
Annie
P1 Fashion In The 2025 Formula 1 Season
With the start of the 2025 Formula 1 season at the Australian Grand Prix, we have already seen some fascinating race results, brand new teamwear collections, and apparel partnerships. Adidas has partnered with Mercedes-AMG and Castore with Red Bull, and the team kits have exploded in popularity considering Formula 1’s influence in modern culture. Formula 1 is, of course, the beautiful combination of speed, strategy, and sheer human daring played out on the world’s fastest stage. However, the teams and drivers themselves, let alone the grand prix events, have signaled a greater shift of luxury and style beyond the paddocks and into the heart of global fashion culture.
Lewis Hamilton said, “there was [once] a sense that high fashion and high performance couldn’t exist alongside each other.” What is evident in 2025 is that from the grid to the runway, fashion’s motorsport moment has been given the green light. In fact, according to Karla Otto agency, “Formula 1 is the second fastest-growing sport contributing towards the Earned Media Value (EMV) of fashion brands, surging 35 percent in 2023.” A sport that combines luxury, speed, heartthrobs, and has social media presence is sure to be a marketing phenomenon, especially with the rise of the Netflix docu-series Drive to Survive. It is a sport for the rich, with leading brands like Rolex, Moët & Chandon, and an outrageous entry price, but that is where so much of its beauty comes from.
Perhaps the most notable marker of the season is Louis Vuitton’s signing of a decade contract as a sponsor of F1. Like F1, Louis Vuitton is synonymous with luxury and heritage, but they also know how to create a spectacle. With the new branding of the Australian Grand Prix as the Louis Vuitton Australian Grand Prix, I am very certain that we will be seeing the focus of Vuitton as a whole shift to the pillars of F1 and its primary audience. Already, they’re redefining the visual language of a sport known for speed and precision by injecting it with even more opulence, theatricality, and old-world glam.
With Pharrell Williams at the lead of the entire menswear industry, LV has already been toying with futurism, play, and spectacle. Formula 1 gives them the perfect runway to turn fashion into a full-sensory experience on and off the track.
In other words, expect to see Louis Vuitton designing not just for the runway, but for the raceway, tailoring its luxury to the world of pit stops, champagne showers, and globe-trotting fandom.
This is fashion’s high-speed future, and Vuitton just floored the gas.
The team that historically catches the most eyes is none other than Scuderia Ferrari. Ferrari’s signature “Rosso Corsa” red is instantly recognizable on and off the track. This season, the Scuderia Ferrari team is not only performing on the track but setting trends off it – especially with a fresh new driver lineup and an even bolder presence in luxury streetwear.
This year, they are partnering with Puma again to create a shoe that highlights the optimal performance and sleek racing style that an F1 driver possesses, while maintaining the influence of heritage and luxury that Scuderia Ferrari is known for. The clothing comes in the Rosso Corsa color with the yellow emblem that is so easily recognizable. Charles Leclerc is also featured as the face of the campaign, charming millions as the European heartthrob of the season.
Ferrari is also continuing their race collaborations with Puma, Richard Mille, Ray Bans, and Brunello Cucinelli.
On the Red Bull Racing Team, we will see primarily AlphaTauri, and a whole lot of it considering the speed of its newly announced global fashion ambassador, Max Verstappen. The global fashion brand has chosen Verstappen as a clear ambassador, as he dominated the 2024 season and did so with an attractive confidence that will continue to display their clothing at the twenty four locations on the 2025 Formula 1 calendar. He brings his personal commitment to remaining true to himself and his own style with this new collaboration.
Red Bull has also given Verstappen a helmet for the 2025 season, inspired by the helmet he wore when he first started racing at the age of four. The helmet is designed as a tribute to his father, Jos Verstappen, whose own helmet left a lasting impression on Max.
This season is just beginning and I have already seen the rise of fashion’s influence on and off the track. The stakes are only getting hotter. From pit lane to podium, and even onto the Met Gala red carpet, fashion is leading the charge. Buckle up, because we’re only on lap two!
Xoxo,
Annie
Designer Spotlight: Amy Lawrence
We are just over the halfway point of the Melbourne Fashion Festival where, so far, the festival has showcased a stunning array of collections, from emerging Australian talent to internationally renowned labels. I ran to my computer this morning to report that Australian designer Amy Lawrence has just been awarded the National Design Award for her excellence in sustainable design and craftsmanship within the first five years of her establishment. Her sophisticated, hand-sewn creations have garnered attention for their innovative attempt at reshaping the future of fashion. I have had the privilege of presenting many sustainable fashion designers on this blog, but few have excited me as much as Lawrence.
Amy Lawrence founded her label in 2023, after the initial COVID lockdown, bringing a conscious approach to the industry. Known for her delicate, hand-sewn dresses crafted from undyed silks, Lawrence’s designs offer a unique juxtaposition of modern style and artisanal craftsmanship. She has chosen to work exclusively with natural fibers and avoid synthetic dyes. Each piece celebrates beauty and quality craftsmanship, while remaining ethically accountable. She has always admired slow fashion, producing made-to-order, limited collections out of her Melbourne studio that emphasize quality and longevity over quantity.
What truly sets Amy Lawrence apart from her contemporaries is her commitment to craftsmanship. The choice to use undyed silks allows the natural beauty of the fabric to shine. The silks are sown using her distinctive fagoting stitch technique to create decorative seams with small gaps between fabric pieces. Lawrence manages to make the silks feel almost shell-like, maintaining their structural integrity while possessing an almost iridescent glow. The stitching allows sunlight to filter through the spaces like light between seashells scattered along a shore. Her silhouettes are youthful, allowing the models to float over the runway.
This award solidifies her status as a leader in the industry. This recognition speaks to her dedication in combining luxury with environmental responsibility. As her brand continues to grow, Lawrence’s influence extends beyond Australia, placing her at the heart of the global conversation on sustainable fashion.
For anyone looking to invest in high-quality, sustainable fashion that stands apart from the crowd, Amy Lawrence is the designer to watch.
Xoxo,
Annie
Dandyism and the Met Gala 2025 Theme
Few fashion movements have embodied the intersection of art, identity, and social critique quite like dandyism. A phenomenon that has transcended centuries, dandyism is a statement, a philosophy, and an enduring testament to the power of fashion as a means of self-definition. From the extravagance of 19th-century European dandies to the cultural significance of Black dandyism in contemporary fashion, this movement remains a profound reflection of the era in which it exists.
I first studied dandyism in a Western Art course at my University, where the professor emphasized the role of using clothing to practice defiance, self-mastery, and carefully curate a persona that speaks louder than words. From the aristocratic salons of 19th-century Europe to the streets of Harlem and the runways of Paris, the dandy has remained a symbol of reinvention.
And now, with the 2025 Met Gala theme, "Superfine: Tailoring Black Style," dandyism is taking center stage once again. When a Met theme first gets released, there is always a bit of confusion and uncertainty about what it really means and what it will attract to the carpet. I have put together a brief history and analysis of dandyism and what I believe the theme may look like.
Historical Background
Dandyism originated in late 18th-century England and France, reaching its height in the early 19th century. The quintessential dandy was the aristocratic or bourgeois man who curated an image of effortless elegance and supreme refinement. It was a performance of selfhood, a deliberate and calculated rejection of both excess and mediocrity. It is in more than what you wear, but where you are seen and how you behave.
A life of leisure has historically promoted dandyism, considering that a man who is but an observer of society, and one with the means to observe from a position of privilege, has the ability to drown himself in elegance. Dandies craft themselves into a fantasy of time and money, yet with complete detachment from these earthly pleasures. To dandies, life is a performance.
To understand dandyism, we have to start with its original blueprint: Beau Brummell. Back in the early 1800s, when European men were still draped in elaborate embroidery and powdered wigs, Brummell threw it all out the window. Instead, he adopted perfectly fitted tailoring and crisp white shirts. He believed fashion was about precision. He was both a fashion icon and a disruptor. Brummell turned getting dressed into art, and made sure people knew that true power was in the details. A perfectly tied cravat was his armor, and his way of commanding a room without saying a word.
Dandyism in Art and Literature
During the 19th century, dandyism evolved beyond personal style and became deeply embedded in the aesthetic movement. Writers and artists found inspiration in the dandy’s rejection of societal conventions and his pursuit of beauty for its own sake.
Oscar Wilde is a prime example of the literary dandy. His novel The Picture of Dorian Gray (1890) immortalized the dandy as a character whose devotion to beauty and refinement transcended morality. Wilde himself dressed in extravagant velvet suits, incorporated peacock feathers and silk, and used fashion as a means of artistic expression.
Manet’s famous painting Portrait of Émile Zola (1868) presents the writer as a modern intellectual dandy, dressed in simple yet refined clothing, surrounded by art, literature, and objects of taste. Unlike traditional aristocratic portraiture, Manet’s work emphasizes individuality over status, aligning with the dandy’s personal aesthetic philosophy.
In his masterpiece A Bar at the Folies-Bergère (1882), the men in the background, dressed in tailored suits and top hats, embody Parisian dandyism, effortlessly blending into the social scene while maintaining this sense of detachment.
Dandyism and Social Rebellion
By the 20th century, dandyism had moved beyond its aristocratic origins, finding new meaning in different cultural and racial contexts.
One of the most powerful reinterpretations of dandyism came through Black dandyism, which transformed the movement from a statement of aristocratic nonchalance to an act of cultural resistance.
From the Harlem Renaissance to contemporary fashion, Black dandyism has been an assertion of individuality in the face of racial stereotypes. Style became a way to reclaim dignity and challenge racial stereotypes, when societal respect was denied. It was a way of saying: I define myself—no one else does.
The Met Gala 2025 Theme
As the 2025 Met Gala highlights "Superfine: Tailoring Black Style," dandyism is poised to take center stage once again. It will be a moment for designers, celebrities, and cultural critics to reflect on the enduring power of style as a tool of identity and transformation.
This year’s theme focuses on the role of tailored fashion in shaping Black identity across generations. Inspired by Monica L. Miller’s book, Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity, the accompanying exhibition will explore how fashion has served as both a form of self-expression and resistance.
I am expecting a combination of the velvet suits and statement hats of classic dandyism, with structured shoulders, gender-fluid silhouettes, and tech-inspired afrofuturism.
The evening will be hosted by Pharrell Williams, Lewis Hamilton, Colman Domingo, A$AP Rocky, Anna Wintour, with LeBron James as the honorary chair. Other members of the committee include Simone Biles, Johnathan Owens, and Sha’Carri Richardson. This list really caught my attention because each individual will bring their unique perspective of style and influence from beyond the fashion industry.
While we have seen style excellence from each host in their respective industries, from the runway to the racetrack, it is important to recognize just how influential these individuals have been in shaping the larger cultural conversation.
I am especially intrigued by the addition of Lewis Hamilton. He has recently transformed the perspective of male athletes in high fashion. Not only is he distinguished in his sport of speed and precision, but he has been bringing those same concepts to the runways, becoming an influencer of meticulous design and quality tailoring. The fact that Hamilton is co-chairing the Met Gala 2025 is a testament to how far fashion has come in recognizing the influence of athletes beyond the court, track, or field. His presence on this year’s red carpet will likely reinforce the idea that tailoring is about the ability to command attention with both presence and precision.
Formula 1 is arguably a sport of dandyism as well. The sport has always embodied elegance, luxury, and precision. It is the perfect ecosystem for dandies to thrive.
Today, dandyism has experienced a resurgence, particularly in high fashion and streetwear. Designers such as Thom Browne, Gucci’s Alessandro Michele, and Rick Owens have played with dandy aesthetics, merging historical tailoring with modern silhouettes.
I believe that we will see Thom Browne and Rick Owens’ avant-garde interpretations of classic suiting, and Pharrell’s signature fusion of luxury tailoring with playful twists. And of course, I’m crossing my fingers for plenty of Zendaya moments!
"Superfine: Tailoring Black Style” is a study in how style and fit contribute to self-definition, ingenuity, and quiet rebellion in Black fashion. While details on the event are still scarce, the theme alone has already sparked my curiosity, pushing me to study the fascinating world of the dandy and the transformative power of clothing as a form of conversation.
I will do a more in-depth report when more information is released, but until then, I hope this was the perfect little teaser on this years theme!
Xoxo,
Annie
Spring Break 2025 Must-Haves
Spring break on a tropical island surrounded by piña coladas and UV 10 is just what I think we all need right now. Every year around this time, I curate my own personal shopping bag that I can never actually press order on, but a girl can dream! This year I thought it would be exciting to share a peek inside of my ultimate wishlist of chic, over-the-top, and completely aspirational spring break essentials, so that maybe some of you can get in on the fun and wear these pieces on your trips.
Starting with a travel outfit, I am absolutely in love with the Reformation Olina Linen Cropped Pant. A crisp linen pant is so chic, especially when paired with this Chloé Graphic Tee from Net-A-Porter, and the Sézane Tilda Sandals. This is the perfect transition outfit from plane to resort — clean, comfortable, and so polished.
If you know me, you know that a bikini is practically my second skin. I was born and raised in a beach town where a swimsuit is the unofficial dress code. This year I cannot get enough of the barely-there bikini, like the Emily Bikini from Gimaguas, which has the perfect mix of a sleek cut and eye-catching appliqués that elevate the whole look.
Nothing beats a simple, high-quality swimsuit that gives you that effortless, just spent a week roasting tan. At the very top of my wishlist? The September Top and Playa Botton from Indah Swim. This set is minimalist, flattering, and exactly what I’d wear if I were living my best life somewhere in the Mediterranean.
For accessories I am going for these Miu Miu sunglasses that I can confirm are some of the most timeless and universally flattering pair of sunnies I have ever seen. Paired with this insane coverup from iLE AiYE Bespoke Knitwear. This women-owned brand is all about slow fashion, drawing inspiration from the holistic beauty of Ibiza. Plus, the cotton and alpaca wool used in these dreamy pieces are ethically sourced and sustainable, so you can look incredible and feel good about it.
For a daytime look or more causal dinner out, I pulled a few independent items that can be styled so many ways. First up: the City Mini Dress from Gimaguas once again. The v-neck and cinched waist combo create the perfect effortless silhouette, making it one of those pieces that just falls perfectly without even trying. It’s the kind of dress that works for anything, dressed up or down.
A sculptural top, like the Radha Top from Cult Gaia, is the best statement piece paired with a mini skirt, tailored trouser and flat. It’s bold, architectural, and guaranteed to turn heads. For the perfect balance of structure and softness, I’d pair it with the Double Love Knit Mini Skirt from Tank Air. The details on the skirt are so subtle, but the color and style complement the intensity of the top quite nicely. To tie everything together, I would add this Sézane Basket Tote that will be in their next Spring drop.
Last, but certainly not least, is perhaps the most controversial shoe of the season: the boat shoe. Personally, I am here for the Miu Miu Boat Shoe. This pair takes the preppy staple and gives it a fresh, fashion-forward twist, proving that with the right design, even the most divisive trends can feel undeniably chic.
Warm nights, ocean breezes, and candlelit dinners call for something a little extra. I adore a dress that feels just as dreamy as the destination itself. Think flowing silhouettes, lightweight fabrics, and just the right amount of shimmer to catch the golden-hour glow.
The first dress is the Hoda Maxi Dress by AFRM. The lightweight fabric makes it perfect for balmy tropical nights, while the sheer detailing adds just the right amount of allure for a vacation dinner under the stars. It’s the kind of dress that looks equally stunning with strappy sandals or barefoot in the sand.
The Aditi Gown, from Cult Gaia is the moment. With cascading ribbons that move with the breeze, this piece was practically made for golden-hour photos that will leave everyone asking, Where did you get that? Flowing, sculptural, and effortlessly dramatic, this is the gown to wear when you want to turn heads without even trying.
I saw the third dress on one of my favorite people ever, Maggie MacDonald, in her recent spring break trip video and I gasped. The Antheia Dress from Rat and Boa combines a feminine and masculine style that creates the hottest understated effect. The back is so unique, with a single strap that frames your figure so nicely.
Finally, the shoe of choice is quite simple for me. The Leena Flat from Cult Gaia is a recent addition to my wishlist, but it might just be one of my favorite pieces yet. Elegant, minimal, and effortlessly chic, this pair is designed to elongate the legs while complementing any dress without overpowering the look. Less is truly more here.
And there you have it — my ultimate, slightly delusional, but undeniably fabulous spring break wishlist. Whether you’re jetting off to a tropical paradise or just manifesting warmer days ahead, these pieces are all about effortless elegance, vacation-worthy glamour, and sophistication.
From crisp linen travel sets to barely-there bikinis, statement-making evening gowns, and even the most controversial shoe of the season, these are the looks that would define my dream getaway.
If you do happen to snag any of these, just know I’ll be living vicariously through you. Until then, I’ll be here, patiently waiting for the next flight to the Maldives!
Xoxo,
Annie
The Philosophy of Fashion
The majority of my university courses have been heavily focused on both ancient and modern philosophy, allowing me to refine my own ideas and writing style. Therefore, I thought that it would be purely fascinating to examine fashion through the lens of philosophy. I was also recommended the book, Bring No Clothes: Bloomsbury and the Philosophy of Fashion, which studies the acceptance and rejection of clothing within the intellectual group of Bloomsbury. It made me want to analyze fashion through an unorthodox sector of philosophy, where the theories are avant-garde in themselves. That being said, here is a brief reflection on how the insights of ancient thinkers, modern philosophers, and critical theorists shape our understanding of the deeper significance of what we wear. * Disclaimer – This is for fun and written in a stream of consciousness, so feel free to argue on any of these principles. This is far from an academic report and welcomes criticism and conversation *
Foucault and the Power of Clothing
I really love Michel Foucault’s concept of panopticism, the idea that individuals internalize societal expectations under an implicit, ever-present gaze. It offers a compelling framework for understanding fashion’s role in both enforcing and resisting power. The term originates from Jeremy Bentham’s Panopticon, an architectural design for prisons where a single guard could observe all inmates without them knowing whether they were being watched at any given time. Much like the disciplined subject in Bentham’s panopticon, individuals regulate their clothing choices, adhering to norms that dictate professionalism, gender expression, and social status without explicit enforcement. This phenomenon mirrors the visual language of art history, where clothing has long been used to signify power, virtue, or rebellion. From the rigidly structured attire of Renaissance portraiture, to the fragmented, avant-garde fashion inspired by Cubism and Dadaism, artistic movements have often reflected or challenged prevailing aesthetic and social hierarchies. Just as modernist art broke from classical representation, subversive fashion movements – punk or androgynous styles – reject imposed norms, transforming dress into a medium of resistance. In this Foucauldian paradox, fashion becomes both a disciplinary mechanism and a site of defiance, shaping and challenging the visual and social codes that govern identity.
Aristotle and Mill on Sustainability
Sustainable fashion, when examined philosophically, redefines fashion where garments are not just commodities but entities with histories, labor, and ecological history. Each piece of clothing carries the history of the hands that crafted it, the ecosystems that provided the materials, and the economic systems that dictated its journey. This aligns with Aristotelian virtue ethics, advocating temperance in consumption, justice in labor, and prudence in sourcing. Aristotle taught the idea of eudaimonia, or the highest form of human flourishing, by living in accordance with both reason and virtue. Virtue, in the study of sustainability, can be placed into three major categories: temperance, justice, and prudence. Temperance is developed through mindful consumption, discouraging excess and promoting thoughtful purchasing decisions. Justice demands fair wages, ethical labor practices, and the humane treatment of workers throughout the supply chain. Prudence encourages the mindful sourcing of materials, favoring ecological and regenerative cycles. By considering Aristotle’s principles, individuals contribute to a system that values craftsmanship, respects labor, and prioritizes environmental stewardship
A utilitarian approach to sustainable fashion assesses its ethical permissibility by weighing economic benefits, environmental impact, and social justice. John Stuart Mill would have assessed fashion by accounting for the greatest good for the greatest number of people. Mill may have argued that while fast fashion provides affordability and jobs, it also exploits workers and depletes resources. Act utilitarianism might justify fast fashion based on short-term consumer satisfaction, but rule utilitarianism argues for ethical guidelines that ensure long-term well-being. Sustainable fashion aligns more closely with rule utilitarianism because it seeks to establish systemic changes for the long-term success of a greater number.
Plato and Kant on Beauty
Plato and Kant offer distinct yet complementary views on beauty, both contributing to how we understand aesthetics. Plato believed that beauty was not simply a sensory experience but an ideal form, existing beyond the material world. True beauty is not merely found in the garments themselves, but in the craftsmanship they embody, or the cultural narratives they convey. Take the Dior “New Look”. These designs changed fashion forever, as they represented a post-war return to elegance, femininity, and artistic perfection. The balance, proportion, and craftsmanship reflect an aspirational aesthetic that will forever defy time.
Kant positioned beauty within the realm of human perception, arguing that it is inherently subjective, and shaped by personal experiences, emotions, and cultural contexts. He argued that beauty in fashion is not merely an objective quality embedded in the clothing but is instead a dynamic interaction between the garment, the wearer, and the observer. A dress may be admired not only for its construction but for the way it makes someone feel, the memories it evokes, or the statement it makes within a particular social or historical moment. The ripped fabrics, safety pins, and rebellious silhouettes of Vivienne Westwood’s punk designs, were not traditionally “beautiful” in a Platonic sense, but they evoked strong emotional and political statements.
Fashion, in this sense, becomes a fluid dialogue between these two philosophical networks. What is considered beautiful in one time and place may not be in another, showing the malleability of beauty in fashion.
Sartre and Existentialism
Philosopher Jean-Paul Sartre’s argument that "existence precedes essence," fundamentally challenges the notion of predetermined identity, emphasizing instead that individuals must actively construct their sense of self through lived experience. Fashion, in its purest form, is immediate and personal. It is a tangible manifestation of self-definition. What we choose to wear is a form of self-definition. Every outfit we put on is a small act of self-definition, a way of telling the world who we are, or who we want to be.
For Sartre, fashion becomes a medium through which we assert our freedom. Much like art or language, clothing allows individuals to engage in a dialogue with the world, resisting externally imposed identities and instead crafting a personal narrative. In a society that constantly seeks to categorize and define, personal style serves as a site of both conformity and resistance, an opportunity to navigate and negotiate identity on our own terms.
Final Thoughts
Engaging with fashion philosophically allows us to uncover the complex ways in which it intersects with autonomy, social stratification, and political discourse. What we wear is not simply a matter of aesthetics or function but a deeply embedded statement of values, aspirations, and resistance. Through this lens, fashion becomes a site of purpose shaped by the evolving ethical and ideological currents of the world around us.
Xoxo,
Annie
Deconstructing Fashion, Crafting Illusions, and Redefining Reality: An Analysis of Maison Margiela’s Avant-Garde Designs
The language of fashion is constantly written and edited by the creative minds behind the art. Designers such as Martin Margiela combine their knowledge in the modern and formal concepts of art history and the clothing production process, to produce pieces of art that embody the power of the designer to challenge the conditions of the laws and language of fashion. Drawing inspiration from Cubist elements of collage and geometry, Margiela utilizes multi-perspectival elements to strategically trick the eye into seeing the larger narrative of his ability to craft illusions, challenge norms, and redefine the very essence of fashion. He deconstructs his clothing to further challenge the notion that the eye can perceive all, as if seams are coming undone, revealing inner layers or unexpected details.
This article will analyze three of Maison Margiela’s collections that harness the cubist construct of theatricality and unconventional storytelling, using trompe l’oeil in order to deconstruct clothing in a way that unveils the craft of design, and challenge traditional constructions of how framing emphasizes and rewrites traditional clothing narratives upon the boyd. In conversation with thinkers and artists such as Clement Greenberg and Robert Rauschenberg, I will undo the stitches that hide the meaning of Margiela’s artwork to reveal the power behind what initially meets the eye in avant-garde fashion.
Under the creative direction of Martin Margiela, Mason Margiela managed to deconstruct his pieces in a way that inverted the world of fashion by resetting traditional clothing norms. His initial attempt at the style of illusion debuted at the Maison Martin Margiela Spring 1996 show. This collection exemplifies Margiela's fascination with deconstruction. Garments appeared to be taken apart and then reconstructed in unconventional ways. Seams were exposed, linings were inverted, and clothing was left unfinished, challenging the traditional notion of a polished and refined appearance. The eyes of the Parisian audience were taught a new lesson of the power of trompe l’oeil in deception. In fashion, the term “more than meets the eye” gives power to the designer and poses a challenge to the viewer. It forces the audience to inquire about the reality before them, and allow a visual escape into the power of layering and collage. By using this craft, Margiela played with the idea of “[abandoning] sculptural function” in a way that does not deceive, but puzzles the eye (Greenberg). Clement Greenberg, a key figure in abstractionism discourse, explains collage as a way to break away from the traditional two-dimensional limitations of painting. If the tactile and sensory features of a work of art utilize the qualities of collage, the viewer will more likely engage with this artwork.
Vogue Runway, Maison Martin Margiela Spring 1996 Ready-To-Wear, 1996
In the 1996 collection, Margiela strategically reversed the construction of pieces, juxtaposing reality and fiction, and thereby fragmenting the viewer's expectations as the models walked down the runway. The designer incorporated chiaroscuro negatives of photographs of clothes on fluid materials. Fixed loosely onto the supporting material, these photographs were difficult to distinguish from their true-form counterparts. When combined with conventional framing, the collection creates a play between illusion and reality. Models adorned loosely draped layers, blurring the boundaries between stitched, painted, and real elements. Margiela's intent went beyond focusing on individual models or complete looks; instead, he directed attention to his mastery of contrasting light and dark as "cadences of design” (Greenberg). This deliberate focus on the interplay of elements like deconstruction and layering, aimed to provoke questions about the three-dimensional qualities that Greenberg claims create a dynamic visual rhythm that enhance the viewers perception of the depth, form, and texture of the collection.
It is also important to note the rhetoric that Margiela created through these elements. The show must be broken down into two elements: the pieces themselves and the models as representative figures. As previously described, the distorted proportions, flirtation of light and dark, deconstructed stitching, and strategic layering established a tone of mastery in the art of avant garde collage and modern illusion. However, the models adorning the clothing further aid in the understanding of fiction and reality. By veiling the faces of the models, Margiela committed to allowing the body to be the blank canvas for interpretation and reversal of fashion’s cult of personality. It evokes Neo-Dada elements of deconstruction for the purpose of making the frame visible. Artists such as Robert Rauschenberg harness like acts of erasure to create something new by destroying what was once there. It manipulates expectations to surprise reality. Margiela, used the body as another fabric, and used absence as effective a design choice to properly distort how the rhetoric of the image on the models –composition, framing, and content – can be seen as persuasive strategies, aiming to influence the viewer's interpretation. The eye is tricked just enough to properly challenge the traditional expectations of art, and emphasize Margiela’s creative mastery in the layering of the elemental choices – an ode to collage itself.
Another collection for discussion followed shortly as Margiela quickly grew in popularity as a creative mastermind. Martin Margiela revealed an even clearer understanding for collage and craft in his Autumn/Winter 1997 collection. Rarely does one see an artist or designer desire to harness the element of two-dimensionality over volume and depth. However, Maison Margiela strategically paired two dimensional materials and proportions on a three dimensional frame in an attempt to produce an element of illusion. The collection once again deconstructed and reworked materials onto a crafted background in an unfinished manner. What made this collection special was the use of “new versions of the previous season’s dressmaker-form tops” (Borrelli-Persson). The dressmaker-form tops used the frame of a typical linen mannequin, and transferred it onto the human body to humbly connect the craft with the finished product. Similar to the dressmaker mannequins, the words “Semi-Couture” are printed onto the textile to note the transparency in the crafting process. In Roland Barthes’s, Rhetoric of the Image, he identifies four key image messages conveyed through rhetoric. In this collection Margiela utilizes the linguistic message of the piece through the printing of this message, which “[constitutes] a kind of vice which holds the connoted meaning from proliferating, whether towards excessively individual regions or towards dysphoric values”(Barthes et al.). Margiela’s use of the printed layer on the pieces acts as a controlling device that prevents the interpretation of the collection from becoming too individualized or negative. Again, this returns viewers back to the idea that through the power of linguistic rhetoric as a layer of collage on Mariegla’s designs, the element of relay combines the images on the runway in order to convey a more complex message than words on a bustier. Here, fashion is presented as a form of performance art, akin to the avant-garde spirit of Cubism.
Vogue Runway, Martin Margiela Fall 1997 Ready-To-Wear, 1997
The materials used in this collection as two dimensional elements are important to note for their roles in the idea of deconstruction. From “pattern paper”, “visible basting stitches”, “plastic bags” and “pliable metal”, Margiela managed to take apart the idea of what clothing is and play with the memoirs of the design process (Borrelli-Persson). Specifically, he displayed a piece which layered the blueprint patterns of the original dressmaker-form top onto the finished product itself. As previously noted, the base layer of the design holds power in its ability to speak on the craft process and origins of the collection itself. By adding the unexpected layer of the pattern, Margiela again denotes the crafting process, but also employs trompe l’oeil through collage. The audience is challenged to watch the patterns, raw and asymmetrically pinned together, move down the runway and lay flat on a three dimensional body, and “thrust into real life” (Greenberg). The model becomes the frame for a moving symbol of Margiela’s design process of deconstruction – painted, pinned, and constructed on. Even the illusion of the embroidered pins for the act of fastening challenges the idea of the act of construction, and the eye is decided into seeing a seemingly three dimensional figure that is actually flat. Without each layer and element, including the model, working cohesively, the piece would in fact lay flat. Further, Margiela chose to only overlay these two dimensional fabrics onto certain sides of the ensemble. By disrupting the harmony of the finished product, the layers provide asymmetry that challenges the geometry of a stereotypically finished garment. It is interesting to picture that a designer would purposely choose to leave the pieces layers, tattering, and unfinished and call them couture; but it is the genius of Margiela. It frames the collection in such a way that invites the viewer to question what in the world of fashion is truly real, or just an illusion of the mind.
Maison Margiela further deconstructed and pioneered the cult-classic Tabi shoe from his perspective, illustrating the idea that taking apart old ideas to establish an improved form is how fashion remains ever changing. The Tabi shoe can be traced back to fifteenth century Japan as a way to promote holistic healing through the mechanical separation of the first two toes. Margiela’s 1998 collection of Tabies were created to compare the qualities of the human body to those of clothing. The Tabi is designed with an uncanny resemblance to the shape of a human foot. Yet upon closer inspection, one element calls for inspection and interpretation: the toes. Resembling a hoove, the shoe has an animalistic quality that raises questions of ambiguity and bridges the gap between strange and beautiful – the incarnation of the word bizarre. What is important to note is that this unusual design is plastered upon a seemingly blank canvas of the foot. It almost erases the idea of a human foot and blurs the lines between the body and the utilitarian functions of a shoe. In terms of collage, it pieces together human and animalistic qualities in a geometrical way – the unconventional, angular, split toe design – to parallel the breaking down and reassembling of traditional collage elements. Once again, Margiela utilizes trompe l'oeil to “deceive the eye” into a double-take of the multi-perspectival elements which comprise this shoe. Is it a foot? Is it a shoe? Is it human or animal? The viewer's gaze through each layer of the shoe is then followed by understanding, which Roland Barthes’s claims is the purpose of the analogical message: the shoe is associated with both a foot and a hoove through resemblance. This returns back to the idea of the theatrical nature of avant-garde fashion that can be identified through every artistic disciple – from cubism to surrealism. Why stick to traditional methods of representation when the mind is capable of producing a deeper understanding of the world around it once it is challenged?
Tatsuya Kitimaya, Lasts for the tabi boots, 1991
Epitomized in Maison Margiela’s Spring Runway 1996, Autumn/Winter Runway 1997, and Tabi Shoe collections, the paradigm shift from the expectation of ready-made and couture clothing as conventional, to the idea that clothing is a canvas for artistic expression and deliberate conversation is made evident as the product of artistic inspiration. What made Martin Margiela so influential during his time as Creative Director was his ability to reinterpret classic garments, and breathe life into a dying language of fashion. The designer’s commitment to the unexpected qualities of trompe l’oeil, deconstruction, and the manipulation of visual elements for the purpose of reframing the narrative of fashion originated in Martin Margiela’s desire to deconstruct the stagnant of the language of fashion, and allow room for further discussion on societal, cultural, and temporal topics. Ideas such as the meaning of layers of linguistic and analogical rhetoric, the erasing of the original image inside of the frame, and the informal use of the human body using formal elements are only a few of the pieces that Martin Margiela has left as part of his lexicon of fashion. To become arguably the most influential wearable artist means to have the power to take inspiration, dissect it, and produce something even more influential in its place.
Xoxo,
Annie
NYFW 2025 Live (ish) Updates
As the industry’s biggest names set the tone for the seasons ahead, New York Fashion Week 2025 is more than just a showcase of clothing. This year is a theater of reinvention. Beneath the glamour, here’s what’s really happening:
The Anti-Trend Movement
While fast fashion continues to chase micro-trends, many designers are doing the opposite. We have seen a large increase of designers leaning into timeless collections that reject seasonality. Brands like The Row and Khaite have stripped back embellishments, focusing on impeccable tailoring, heirloom craftsmanship, and fabrics that age like fine wine.
Runway Moments:
Khaite’s opening show was a love letter to 1980s New York minimalism, with barely-there makeup and silhouettes so fluid they felt sculptural.
Thom Browne’s shock moment? A completely monochrome, print-free collection—unexpected for a designer known for whimsical detail.
The After-Party Scene
Saks Fifth Avenue NYFW Kickoff Party:
Saks hosted its annual pre-NYFW event at the newly opened Crane Club Restaurant in Chelsea. The evening featured a surprise performance by Caroline Polachek. Notable attendees included Laura Harrier, Thomas Doherty, and Alex Consani.
Jimmy Choo Spring 2025 Campaign Celebration:
Jimmy Choo, in collaboration with Chloë Sevigny, celebrated its Spring 2025 campaign at Jean's in New York City. The intimate dinner featured a special performance by Patti Smith and attracted guests such as Jack Harlow, Jemima Kirke, Cole Sprouse, Lisa Rinna, and Amanda Lepore. The evening concluded with a DJ set by The Dare.
The It Bag Nobody Expected
After years of oversized, pillow-like totes, designers are shrinking the silhouette again. The hottest bag from NYFW? A vintage-style, ultra-mini clutch, spotted on the runways of Altuzarra, Carolina Herrera, and Brandon Maxwell.
Notable Collection: Ulla Johnson
Ulla Johnson’s Fall 2025 Ready-to-Wear collection was a study in quiet confidence. Heritage craftsmanship met a modern edge. Against an 8-foot sculpted poppy installation (a collaboration with French sculptor Julie Haminsky), Johnson wove a narrative of ephemerality and strength.
Rich ochres, midnight blues, and marigold florals gave the collection a lived-in warmth, while layered silks, structured jacquard coats, and handcrafted knits balanced delicacy with architecture. Gold-plated poppy belts and sculptural floral jewelry added an almost mystical touch. It was Ulla at her best.
Final Thoughts
This season so far is about a cultural reset. Designers are seeking inspiration in pre-digital craftsmanship, nature, and emotion-driven storytelling. The most unforgettable moments weren’t the loudest – they were the ones that felt intimate, handmade, and deeply human.
Xoxo,
Annie
Community Outreach: Pickle’s LA Fire Support Initiative
In the wake of devastating fires that have displaced countless families in Los Angeles, Pickle, a peer-to-peer fashion rental app, has stepped up in an extraordinary way, demonstrating the power of community and compassion. This week, I had the privilege of volunteering at their clothing care package curation event, and it was an experience that left a significant mark on my heart.
Pickle’s mission to provide personalized care packages to those in need is nothing short of inspiring. Each bag is carefully curated based on the recipient’s specific requests, including their clothing sizes, preferences, and even unique needs like skincare and beauty items. As a volunteer, I was assigned to pack bags for individuals whose names and stories were provided. It was deeply moving to see their name and personal details—it made the entire process so much more intimate and meaningful. The event was not just about packing bags, but also about small gestures to help in restoring dignity and hope to people who have lost so much.
The Pickle team truly exemplifies excellence and kindness. Their event was impeccably organized, with every item clearly labeled by size and category. From coats and workout sets to beauty products, they thought of everything. The team was also incredibly supportive, always ready to guide volunteers and ensure every care package met the highest standard of thoughtfulness. Their passion and dedication were contagious, creating an environment where everyone felt connected to a common goal.
Meeting the Co-founder of Pickle was another highlight of the day. Julia O’Mara has a heart of gold and is a natural born leader. The vision for using fashion and community as tools for positive change was palpable, and they took the time to share the impact of the care packages with us. It’s rare to encounter leadership that is so hands-on and committed, and it reaffirmed my belief in the importance of companies actively engaging with the communities they serve.
One of the key takeaways from the event was the current need for specific donations. While Pickle has received an outpouring of support, there is an urgent need for men’s clothing and children’s clothing to ensure they can meet the diverse requests coming in from the community. If you have items to donate or can spread the word, now is the time to get involved and make a tangible difference.
This event was a powerful reminder of what can be achieved when people come together with a shared purpose. Pickle’s care package initiative is a testament to the strength of humanity and the role we all play in uplifting those around us. If you’re in the LA area, consider donating or volunteering with Pickle. Every contribution, big or small, has the potential to change someone’s life. Sending love and prayers.
Xoxo,
Annie
What’s Next for Sustainable Fashion?: The Instatement of the 119th Congress
From Capitol Hill to your closet, change is in the air—and it’s looking pretty green.
As the 119th Congress kicks off, potential environmental policies could significantly impact the fashion industry's sustainability efforts. Here’s a quick look at how federal action might reshape the future of fashion:
The 119th Congress is expected to prioritize waste management reform, with a focus on reducing the millions of tons of textiles that end up in U.S. landfills every year. One potential policy under discussion is the introduction of federal standards requiring textile recycling programs.
Among the measures being considered are Extended Producer Responsibility policies, which would hold brands accountable for the full lifecycle of their products—from design to disposal.
For many brands, this would mean a significant shift in how they operate. Companies would need to consider the recyclability and durability of their garments at the design stage, ensuring products can be easily repaired, repurposed, or recycled. Moreover, EPR policies could mandate that brands take back their products after consumers no longer need them, providing options for repair, recycling, or resale.
Brands like H&M and Zara, with high turnover rates in their production cycles, will be forced to rethink their entire production models. Others like Eileen Fisher, with its Renew program for garment take-backs, could use its existing infrastructure to meet or exceed new federal standards, potentially influencing other mid-size brands to follow suit. For consumers, this might result in increased accessibility to textile drop-off points and incentives for recycling worn clothing.
What else? A bipartisan push for eco-friendly innovation includes the possibility of tax breaks or federal grants for companies investing in sustainable technologies. For the fashion industry, this could translate to financial support for adopting renewable energy in production facilities, waterless dyeing processes, or sustainable material sourcing, such as organic cotton and recycled polyester. Smaller, independent fashion brands that often struggle with the costs of transitioning to sustainable practices could benefit greatly from such initiatives, leveling the playing field in the industry.
However, this is not a new conversation. We know that this is a continuous and grueling effort in and out of congress. The Americas Trade and Investment Act, for example, has already motivated sustainable fashion movements. These initiatives demonstrate a collaborative effort across party lines to address the environmental challenges posed by the fashion industry, indicating a shared recognition of the need for sustainable reform.
But the stakes have never been higher. With the 119th Congress placing a sharper focus on waste management, recycling programs, and accountability, we’re seeing the beginning of what could be a legislative makeover for the fashion world.
Xoxo,
Annie
Annie’s Step-by-Step Guide to Understanding Leather
Vogue Business
There’s something about leather. It is a material that has long held a place in the fashion hall of fame. But here’s the twist: the future of leather doesn’t come from cows—it comes from pineapples, mushrooms, and even recycled scraps. Yes, you heard that right.
Leather is chic, it’s durable, and warm. Its versatility and ability to age beautifully make it a staple in fashion and function. We do not need to give it up; not fully, at least. So I have decided to write a step-by-step guide to leather for all of my favorite readers.
Step 1: Understand the Impact of Traditional Leather
Environmental Impact: Learn how leather production contributes to deforestation, water pollution, and greenhouse gas emissions.
The leather industry is a leading cause of deforestation. This practice destroys habitats, contributes to the loss of biodiversity, and reduces carbon sinks, exacerbating climate change (Greenpeace, "The Slaughtering of the Amazon").
Tanning leather involves heavy use of toxic chemicals, such as chromium, which frequently contaminates local waterways. A report by the United Nations Industrial Development Organization highlights the health risks of these chemicals to both workers and nearby communities.
Livestock farming for leather production emits significant amounts of methane, a greenhouse gas that is 25 times more potent than CO₂ in its warming potential. According to the Food and Agriculture Organization, the livestock sector accounts for approximately 14.5% of global greenhouse gas emissions.
Ethical Concerns: Research the ethical issues associated with animal-derived materials.
Over 290 million cows are slaughtered annually to meet the global demand for leather, according to data from the Leather Working Group. The practices involved in raising and slaughtering these animals often face criticism for their inhumane treatment.
Many leather products are produced in regions with limited regulations regarding animal welfare, such as Southeast Asia and South America, where practices may not meet international ethical standards. (PETA, "Leather: Animals Abused and Killed for Their Skins")
Cultural and Luxury Appeal: Recognize the cultural and luxury status that has historically made leather a staple.
Leather has been revered for centuries as a durable and luxurious material, from its use in medieval armor to its role in modern haute couture. Its association with status and craftsmanship has made it a symbol of quality and longevity.
Its ability to age gracefully and develop a unique patina over time enhances its aesthetic appeal, making it highly valued in fashion and functional products alike. (Vogue, "Why Leather Never Goes Out of Style")
Step 2: Explore Sustainable Leather Alternatives
Sustainable alternatives to leather are paving the way for a more eco-friendly future. Piñatex, made from pineapple leaves, repurposes agricultural waste into a versatile material used for shoes, handbags, and furniture. Mycelium leather, from mushroom roots, is biodegradable, resource-efficient, and ideal for wallets, belts, and high-fashion items. Recycled leather extends the life cycle of leather scraps, reducing waste, while cactus leather, crafted from Nopal cactus leaves, offers a vegan-friendly and water-efficient option for accessories and interiors.
Despite these innovations, challenges remain. Traditional leather’s unparalleled durability and luxury appeal can be difficult to replicate, and sustainable alternatives often come with higher costs due to limited production scales. However, these materials represent an evolving landscape that prioritizes ethical and environmental considerations without sacrificing style.
Step 3: Make Conscious Choices
Look for brands that disclose material sources and certifications.
Stella McCartney: A pioneer in sustainable luxury, Stella McCartney offers vegan leather options and is transparent about sourcing materials like Mylo, a mushroom-based leather alternative.
Veja: Known for its eco-friendly sneakers, Veja uses leather from farms that meet stringent environmental and animal welfare standards, along with vegan alternatives.
Patagonia: This outdoor brand emphasizes ethical sourcing and uses recycled leather in some of its products, ensuring transparency in its supply chain.
Opt for secondhand leather or sustainable alternatives to reduce demand for new materials.
Care for and repair items to extend their lifespan and reduce environmental impact.
The field of sustainable leather is growing by the minute, with exciting developments like lab-grown leather and bioengineered textiles. Keeping up with these innovations and understanding how they integrate into the fashion industry will empower you to make more informed decisions.
Step 4: Advocate for Change
Share your knowledge about sustainable alternatives with your community.
Support brands and initiatives working toward ethical practices in fashion.
Use your purchasing power to promote sustainability.
Choosing sustainable materials isn’t just about reducing your footprint; it’s about rethinking the stories your wardrobe tells. By embracing alternatives and supporting responsible practices, you can be part of a movement that aligns fashion with the values of a greener world.
P.S. Happy New Year! My goal for 2025 is to have all the answers for your questions and comments. Please contact me with any questions or requests!
Xoxo,
Annie
From Atelier to A-List
The fashion industry is experiencing a notable shift as designers trade traditional runways for red carpets, signing with Hollywood talent agencies to amplify their reach. This shift is more than a simple partnership; it is positioning more designers as public figures and cultural influencers.
Historically, designers were celebrated for their work behind the scenes, letting their creations define their legacy. But in today’s celebrity-obsessed culture, having a dynamic personal brand is as crucial as the quality of the clothing itself. By aligning with Hollywood agencies, designers gain access to unparalleled media exposure, high-profile collaborations, and opportunities to craft a public persona that resonates with global audiences.
This evolution in the fashion business model reflects not the creation of personality-driven brands, which have always existed, but a new level of access and visibility facilitated by collaborations with Hollywood talent agencies. Designers like Donatella Versace and Daniel Roseberry of Schiaparelli have long personified their brands, using their identity and creative vision as a core element of their success. What’s changing now is the scale and medium through which designers can project this persona. Hollywood talent agencies are enabling designers to transcend the fashion world, positioning them as cultural influencers who operate across entertainment, media, and social spheres.
By signing with agencies such as UTA or CAA, designers gain access to opportunities traditionally reserved for actors and musicians, such as greater brand endorsements, film cameos, and global marketing deals. This expanded reach allows designers to amplify their personal narratives and engage with audiences in ways that were previously unattainable. The focus is no longer just on the runway or editorial features—it’s about leveraging Hollywood's platforms to intertwine designers’ stories into the fabric of pop culture.
When Jonathan Anderson, the genius behind Loewe and JW Anderson, signed with United Talent Agency, it was more than just a business move. By teaming up with UTA’s new fashion division, Anderson is stepping off the runway with one foot and onto the Hollywood stage, turning his brand into a lifestyle and his vision into a cultural statement. This isn’t just about selling clothes; it’s about selling a story. Anderson’s decision proves that today’s designers are tastemakers and influencers.
With their partnership with the CAA, one of Hollywood’s most renowned talent agencies, the Kering group gains direct access to Hollywood’s inner circle, opening doors to collaborations that could reshape how luxury brands engage with global audiences. This synergy has the potential to create a new era of brand visibility and cultural relevance. It further reinforces Kering’s leadership, and demonstrates its forward-thinking approach to staying ahead in an ever-evolving market.
As this business model continues to gain attention, it raises crucial questions about the future of the industry. Will it redefine what it means to succeed as a designer, or will it commodify the role to the point where artistry is secondary to marketability? The answers to these questions will aid in determining whether the marriage of craft and commerce enriches or diminishes the creative spirit at the heart of the industry.
Xoxo,
Annie
Sustainability Meets Policy: Lessons from My Internship with the Secretary of State of Romania
By now you know that my content and lifestyle revolves around advocating for sustainable fashion. I decided to take it a step further. I wanted to gain credibility and expertise in sustainability from where it all begins. My desire was to understand how policy is created, shaped, and ultimately trickles down to impact the fashion choices we make. This fall, I had the incredible opportunity to intern with the Romanian Secretary of State during a pivotal moment for the country, as Romania approached national elections and advanced its efforts toward OECD accession. It was a transformative experience, and I’m excited to share how this journey has shaped my perspective on sustainability—not just in fashion, but across industries.
One of my key contributions was working on a groundbreaking book focused on corporate governance. This project explored how transparency and sustainability can transform state-owned enterprises into drivers of economic growth and attract international investment. I learned how to translate complex policy concepts into actionable frameworks, an invaluable skill that I’ll carry forward in my career. While the content itself was policy-driven, it reinforced a lesson I often talk about here on the blog: sustainability is not just an ethical choice; it’s a strategy for resilience and growth. Whether in business or government, integrating sustainability is no longer optional—it’s essential.
I also developed my knowledge in financial policy, contributing to the transposition of EU cryptocurrency legislation into Romanian law. Working under tight deadlines, I navigated the complexities of emerging financial regulations while ensuring critical stakeholders were informed and engaged. This experience strengthened my ability to adapt to high-pressure environments and reinforced the importance of clear communication in public policy.
A personal highlight was contributing to sustainability initiatives, where I analyzed the environmental and social impacts of Romanian state-owned enterprises and proposed reforms to align them with OECD standards. Drawing on insights from sustainability practices in the U.S., I was able to offer a fresh perspective on creating equitable and sustainable solutions. This experience reaffirmed my belief that sustainability thrives at the intersection of innovation, ethics, and collaboration—whether we’re talking about running a fashion brand or restructuring public enterprises. The same principles apply across the board—it’s just a matter of adapting them to the challenge at hand.
This internship challenged me to think critically about how policies influence sustainable practices at a macro level. It also deepened my belief that change doesn’t happen without resilient communities and expertise—fashion, policy, and every other industry must work together to create a sustainable future.
As I take these lessons into the next chapter of my journey, I want to thank the Secretary of State, Dr. Mihai Precup, for his mentorship and support. This experience has been invaluable, and I can’t wait to apply what I’ve learned to both my work in sustainable fashion and beyond.
Xoxo,
Annie
Eco-Campus Chronicles: A look Inside Harvard University’s Sustainability Efforts — REEF Makerspace
I recently stepped into my dream world. Imagine a room filled with ideas, energy, and a whole lot of fabric. Except here fashion was not just about what individuals wear. It was about stitching together the future. I recently had the chance to visit Harvard University’s REEF Makerspace, where I spoke to Director Kile about how students are reimagining the world of fashion by designing with purpose. From upcycling materials to creating stunning eco-conscious designs, this place is like the Hogwarts for fashion-forward minds. Want to know how you can get in on the action? Let’s dive into the world of the SEC Makerspace and see how it’s transforming the fashion scene—one sustainable project at a time!
My visit began with an introduction of a few of the sustainable fashion projects that have been completed by the REEF Makerspace. One of the standout projects I encountered was the Marine Debris Fashion Show—a competition where participants create fashion from materials that would otherwise pollute our oceans. What makes this show even more remarkable? The incorporation of augmented reality (AR), which took each design to new heights, blending fashion with digital elements to promote sustainability.
Seeing the pieces in person was like witnessing fashion transform into art—plastic bags, soda can tabs, and fishing lines skillfully reworked into stunning designs. The level of craftsmanship was so intricate that it took a moment to realize the materials weren’t traditional fabrics but remnants of debris, given new life. Picture a haute couture gown, except it is made out of plastic bags, soda can tabs, and fishing line. These pieces were so full of life, built from debris that was once carelessly disposed of.
Director Kile also showed me images of a design by Kelly O'Conor, a Harvard Medical student who reimagined expired medical equipment, collected from teaching hospitals in the area, into a stunning ensemble. O’Conor had designed with the knowledge that sterile equipment comes with the cost of mass waste. In her designs, she adorned her model with bed sheets and cloth dressings, hand sewn with a suture needle. Her headpiece: a crown fit for royalty constructed out of forceps and ventilation tubes. I had never seen such an ingenious use of disposable materials – materials that were given a second chance at changing lives.
Kelly O’Conor’s award winning design
One of the most intriguing areas in the Makerspace was the 3D printing lab, which holds the key to the future of sustainable fashion. Among the innovative tools and technologies, I was introduced to PHA—an environmentally friendly material made by microorganisms that is flexible, elastic, and biodegradable. This is a game-changer for creating sustainable fabrics, and best of all, it's accessible to all students at Harvard, who are supported by the incredible team at REEF.
As a student passionate about sustainable fashion, I was beyond inspired by what I saw at the REEF Makerspace. It was a rare, eye-opening experience to witness cutting-edge, environmentally-conscious fashion in action, and it left me more excited than ever about the future of the industry. A big thank you to Director Kile and the REEF team for welcoming me into this extraordinary space and showing me how innovation is truly changing the way we approach fashion sustainability.
Xoxo,
Annie
Tailored Terry: 209 Mare’s Take on Functional Elegance
The aesthetic eye shakes hands with functional leisurewear in 209 Mare’s Terry cloth collection of the highest quality blazers and other pieces of resort wear. Founder and creative mastermind, Federico Uribe designed 209 Mare upon noticing the absence of “quality and aesthetic clothing” around his beachside villa. His idea was to combine the sensation of a soft robe on the skin after a day in the sun with the polished look of a blazer – a sophisticated take on a coastal wardrobe. Within a year, 209 Mare elevated the “functional, soft, and durable” French fabric into a sought-after collection.
Repurposing an overlooked material is the motivation behind the company. Federico proudly claims that “the name 209 Mare comes from 20.9, the date on which in 2015 I jumped from the third-floor balcony from a building in Madrid, whilst in the middle of my MBA. I decided to use this experience to change my life and do something bigger than myself. I have repurposed my life”
Terry cloth has an interesting history, from its invention in the Early 1800s. The pre-industrialized French fabric was created by two warp threads, one being left loose to be pulled through a weft. This created a piling texture that proved to be ideal for both water absorption and comfort, but never being recognized for its aesthetic appeal. As a few decades would pass the market began booming for this comfortable fabric, ultimately leading to the production of terry cloth on the industrial scale.
In the 1930s you see the introduction of the French Terry, the lighter-weight brother of terry cloth. This fabric became popular both for its French Riviera style and its versatility in a capsule wardrobe. Terry cloth continues to dominate both the men’s and womenswear markets for its comfort, versatility, and sustainable production.
Like fine wine, French terry cloth “gets better with time”. Uribe found the formula for the highest-end terry cloth on the market. “I love the feel of French Terry,” writes Uribe. “It has drying wires on one side and is brushed and cut on the other side”. The duality of the texture proves excellent for sophisticated leisure from the coast of Monaco to sunny Newport Beach. In one word, Uribe describes the versatility of the style as “flawless”. 209 Mare is for the elegant, well-traveled client – think “1970s Bridgitte Bardot and Steve McQueen or Onassis, back when they were vacationing in Saint Tropez”. 209 Mare is found in the classic wardrobe of the “modern-day gentleman or lady”.
Further impressive is the company’s use of sustainable methods of production to optimize the use of the pieces and increase their quality and value. “All our fabrics are either organic, upcycled, or recyclable. Our packing is done in high-quality dust bags so that it is reusable and all our shipping is carbon neutral. The best way to support sustainability however is by making durable high quality products that last our customers summer after summer. Our motto for our customers is “Buy less, buy better”’. To “buy better” not only means to feel and look better in 209 Mare but also to understand the process of production and purchase quality with confidence.
This current collection has been 18 months in the making. Taking inspiration from the art of David Hockney, his color palette to be precise, as well as from the architecture of Frank Lloyd Wright which inspired the patterns, shapes, and hardware on the collection. 1950s pop art and 1920s Art Deco inspirations is a bold and beautiful combination that mixes two of the most important eras of design. You can see the monogram pattern and how it mixes round and sharp shapes, similar to what FLW used to do in his architecture. This very same monogram can be seen again in metal buttons and all other details. Pair that with Hockney’s Palm Springs-esque color palette and you have one of the most unique fashion collections out there.
Xoxo,
Annie
Out of Style: A Call for the End of Racism in Fast Fashion – Or Both
So you are worried about going out of style. You are worried about not catching a trend on time and missing the latest drop at your favorite brand. You are worried about not being best dressed, so you go make a quick purchase at the cheapest and most promising store. What a relief! It is too easy! This societal habit of disregard is exactly why fast fashion is one of the leading causes of both the environmental and social justice crises.
While our world is progressively moving toward its end, and society is actively initiating efforts to fight climate change and racialism, a large majority of the population has turned a blind eye to one of the largest causes of both “10% of global carbon emissions” and the exploitation of the BIPOC community. The term “environmental racism” has been coined to refer to “environmental injustice [occurring] within a racialized context”. Racialism stretches far further than derogatory terms. It is found in many steps of the chain of fast fashion supply; from textile factories and water systems, to garbage dumps.
If we begin at the start of the supply chain with the dyeing of textiles, there is clear evidence for the ill-treatment of people of color in the mass-producing factories. Not only are they working in unsafe conditions – take the Rana Plaza collapse that killed well over one thousand workers because of illegal construction and lack of funding for management – but they are also part of a chain of unproportional exploitation. Luci Wilden, founder of the Knots & Vibes brand, claims that the brand, Fashion Nova has mass produced his design “with a retail price of $40”. Therefore, their production price is “around $13”, leaving the workers with a salary of “$1 per hour”. It is important to note that these employees are predominantly low income women of color, being exploited in return for the risk that they may not return home from work every day.
Moving down the chain of production, transportation, distribution, and the discarding of these garments, danger is culminating in the air. International waters are being polluted by microplastics, untreated wastewater, and toxic dyes simply through the shipping process. How then, is this water most prominently affecting marginalized communities? This polluting process is filling our earth with toxins dangerous to the human body and environment, and while many communities have the means necessary to filter through this water and clean the air, many marginalized communities do not have the resources to live in this luxury. When these garments are torn, forgotten, or out of style, the most common response is to discard them into the depths of a sea of garbage, filling landfills with “3.8 billion pounds” of clothing every year as if the colored designs are candy dropping from a piñata. Then a fire is lit, smoke fills the air, and lungs are doomed. The catch is, landfills most commonly exist where “public service provision is scarce”, and marginalization directly affects agency. Therefore, methane gas and other dangerous toxins are left to fill the air of the neighborhoods in proximity to these landfills as blind eyes are turned. How is it fair to subject these people-groups to this disadvantage, exploiting their hands and bodies to labor with no reward, simply to purchase a top that will not last more than a few washes? There is a simple answer that absolutely should not need contemplation: it is not fair. Can we go as far as to call this an epidemic, infiltrating these underprivileged communities with an infection of disregard caused by the click of a purchase button?
This is an issue rooted in the fashion industry’s core. The Council of Fashion Designers of America, has a population that includes “less than four percent” of black members. Yet even as members speak up, disproportionate representation remains. Editor-in-Chief of Teen Vogue, Lindsay Peoples Wagner even claims that such disproportions are simply a result of “plain old racism”. “Plain old racism”; let that sink in. After generations of rebellion, strong voices, and liberation the words “plain old racism” are being used to refer to an issue pertaining to something included in the fashion industry.
Still worried about going out of style? Instead, worry about being the instigators of the environmental and social justice crises through the click of a button. Shopping sustainably, doing research on ethical brands, and understanding that shopping second hand will never go out of style. Racism is out of style.
xoxo,
Annie
Fashion and Politics: Gabriella Karefa-Johnson vs Kanye West
History claims that art has been used as political propaganda and the representation of idealizations and beliefs since the beginning of time. Fashion is wearable art. Therefore the use of fashion as a form of speech is far from unethical. It creates room for dialogue, allowing all opinions to be expressed. As political turmoil has increased, so have reactions.
Vogue editor Gabriella Karefa-Johnson recently explained her frustrations and opposition against Kanye West’s Yeezy show during Paris Fashion Week 2022. West debuted a collection of “White Lives Matter” T-shirts in order to make a statement he considered amusing and blatantly obvious. However, it caused mass uproar and confusion from the audience and critics — an almost dystopian occurence.
Karefa-Johnson used a respectful approach to properly navigate such a controversial topic. She began by trying to reason. Perhaps, Karefa-Johnson explained, West may be correct in assuming that in the future, white lives would be endangered due to a complete restructuring of history. This would then require a movement similar to the recent and powerful “Black Lives Matter” movements. She even affirmed his strange “Duchamp” approach to political topics. However, her uncertainty of this theory and her original negative opinions, that the collection was “deeply offensive, violent, and dangerous”, drew ample attention from the media and West himself. Karefa-Johnson’s civil approach ignited a revengeful fire under West.
Kanye West responded with comments directly pointed toward Karefa-Johnson, her appearance, character, and career. Although this approach is common for West, his outrage disturbed the media, drawing attention from model Gigi Hadid, actress Gabrielle Union, and Vogue Editor-in-Chief Anna Wintour — all in support of Karefa-Johnson. The matters were further discussed in a meeting facilitated by Wintour.
The moral of the story is that fashion has indeed proved its potential to influence politics and culture, on and off the red carpet. Dressing politically will always be in trend. It can be dangerous or it can be revolutionary. Both sides deserve to be heard, yet both sides must maintain respect, reason, and take responsibility.
Xoxo,
Annie
Re-fashion NYC: Making Sustainability Accessible to College Students
I will be the first to say that college is extremely busy and exhausting. Very rarely do I find myself with ample time to lounge, binge my favorite shows, or even make phone calls — all things I once took for granted. As a result, it is difficult to continue sustainable practices once so familiar. However, making the conscious decision to live a sustainable life should not be an object of concern, but rather accessible, convenient, and simple. In other words, it should become the norm.
Upon my initial trip to the laundry room at Columbia University, I noticed a large bin that resembled a thrift store donation bin. This immediately sparked interest and delight in me. Written on the bin were the words Re-fashionNYC, and a description of the company’s mission. Re-fashionNYC is the official clothing reuse program in NYC, breaking down doors in countless buildings, universities, and offices. Columbia University alone houses Re-fashionNYC bins in 18 residential buildings.
Re-fashionNYC offers bins to locations that apply in order to make sustainability accessible to those who live in the city that never sleeps. How perfect! The process could not be more convenient. Simply drop off materials and textiles — clothing, blankets, hats, belts, bags, etc. — and voila! Your work is done. Re-fashionNYC is a valid answer to objections of sustainability.
Thank you to Columbia University and participating businesses who are consciously deciding to provide sustainable options. We now have the ability to reduce the 195,000 tons of clothing waste in NYC alone to 0.
Xoxo,
Annie
New York Fashion Week 2022
It has been a crazyyyy few months since I last updated this blog, but I cannot wait to spill all the juicy details. I will begin with a quick recap. In August I packed my bags and moved to New York City for college at Columbia University, and have been on the move ever since. I truly love the city and all the amazing people I have met so far.
The highlight of my time here was by far NYFW. I had the amazing opportunity to attend a few shows, with designers ranging from rookies to veterans. Each designer showcased cohesive magic that I am here to dissect and discuss.
I would not consider myself to be an advocate for trends, yet NYFW Fall/Winter 2022 was an incredible representation of the interconnectedness and network of designers, and how classic pieces can be modernized.
So let’s talk sequins, bright hues, and feathers. Every single show included some form of these three elements. Like a weather forecaster, I could have predicted this trend from a mile away. I knew it was coming before I even stepped foot into any of the venues, simply from observing the outfits in line. This year has developed personality in designers unlike ever seen before. Bright, bold, and daring creations emerged one after another like rainforest birds.
House of Mua Mua embroidered sequins in intricate patterns straight onto bold prints for their “The Real Housewives of Fashion” show. My eyes were confused in a beautiful way as each model floated down the runway — their attitudes matching the pieces they were flaunting. Mua Mua brought the bling out.
In Jesus De La Garsa’s “Paradise” show, the young designer transported the audience to an island where majestic birdlike pieces dropped jaws. I feathers moved so gracefully and the colors complemented each other as they appeared one after another, individually interesting yet so cohesive. Paired with the layers of feathers were metallic boots which fashion fanatics flaunted fabulously. Garsa’s designs were further showcased in Vogue Magazine, adorned by icon, Coco Rocha. Young Annie would have simply passed out at this collection.
DUST OF GODS. Talk about sustainability in the world of fashion. I knew there was a reason I loved designer, Antonio Tadrissi. If you have read my articles, you know that I believe that fashion is wearable art and one-of-a-kind. Whenever I find a designer who makes this magic happen, I will sit front row through it all. Each piece Tadrissi created was unique, wearable, and true art. Best of all, the materials were all hand-picked from local markets and warehouses in order to give them a second chance at greatness. From patchwork to re-done denim, this show contained all the beauty of up cycled fashion.
Thank you to Moyal Enterprises and NYFW for this amazing experience!
xoxo,
Annie
ESPYS Week
My introduction to ESPYS Week can be compared to a small mouse getting thrown into a den of lions. Yet somehow, it was amazing! Thanks to my amazing agent and team, I had the opportunity to attend a few incredible events, meet some new friends, athletes, and get some content for you guys!
Day one included an event with GoatsLegends where I was able to support business and try out some incredible products.
Let’s just say I am obsessed with Vejo. These portable blenders are a must-have for athletes or busy people in general! The flavors are delicious, eco-friendly, and so affordable.
MVMI sleep saved me during this week! Their pillows were created in order to provide athletes with better and more restful sleep in order to improve performance. I am going to be using their pillows as I move into college in order to guarantee a good night’s sleep every night.
More brands include Liquid IV, Cuts, Champion, Coola, ISClinical, Tiesta Tea, Adapt Super Water, and Garden of Life.
The following night I fangirled at the Player’s Night Out, wearing a Lovers and Friends Blazer Dress from Revolve. Thanks to Derek Jeter and The Player’s Tribune, we had the best night meeting some of the greatest athletes and watching the LA skyline.
My first ever ESPYS week was incredible and I cannot thank everyone involved enough for giving me the opportunity!
xoxo,
Annie