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Photography Gigi Gibowicz Styling Gigi Gibowicz Model Isabel Gibowicz Pg.59

Isabel Gibowicz wearing Leopard print pantyhose tights, Red sandal pumps, Black leotard bodysuit, Black midi-length skirt, Purple long gloves, Gingham skirt, White button-down. Isabel Gibowicz wearing Leopard print pantyhose tights, Red sandal pumps, Black leotard bodysuit, Black midi-length skirt, Purple long gloves. the Art of getting dressed Isabel Gibowicz wearing Leopard print pantyhose tights, Red sandal pumps, Black leotard bodysuit. 60

Isabel Gibowicz wearing Leopard print pantyhose tights, Red Isabel Gibowicz sandal pumps, sandal pumps, Black leotard bodysuit, wearing Black leo- Black midi-length Leopard print pantyhose tights, Red tard bodysuit, Black midi-length skirt, Purple long gloves, skirt, Purple long gloves, Gingham skirt, White Gingham skirt, White button-down, Denim belt, Beaded necklace, Headband. button-down, Denim belt, Beaded necklace, Headband, Leop- ard print cap, Brown boa scarf, Graffiti belt. Isabel Gibowicz wearing Leopard print pantyhose tights, Red sandal pumps, Black leo- tard bodysuit, Black midi-length skirt, Purple long gloves, Gingham skirt, White button-down, Denim belt, Beaded necklace, Headband, Leop- ard print cap, Brown boa scarf, Graffiti belt, Textured overcoat, Tommy Hilfiger bag. 61





The fashion world has always held strong ties with the queer community. However, in the 1980s, the devastation that the AIDS crisis had on Seventh Avenue made it clear just how intertwined they were. With countless artists and designers lost in the epidemic, brands began to advocate for AIDS research and awareness. Makeup Art Cosmetics, better known as “M.A.C” was founded in 1984 1984by Frank Angelo and Frank Toskan, and in 1994 the pair created the M.A.C Viva Glam campaign, a lipstick in which 100% of the proceeds would be donated to the AIDS cause. VIVA GLAMCAMPAIGN HISTORY 1994 The first lipstick shade was brownish-red and became wildly popular in the fashion industry as designers began incorporating the lip color into their collections. The lipstick itself was a success but the cause, being one that many felt passionate about, seemed to really drive the movement. As more designers popularized Viva Glam, M.A.C launched Viva Glam II, the second campaign in a beige-pink color with K.D. Lang, a lesbian woman, at the front of it. Queer culture was truly at the center of this campaign with Lang as the spokesperson. 1996 64

Viva Glam continued to 2004 grow at a cultural front through the late 90s into the early 2000s as celebrities and other popular fashion figures partnered with the campaign. Chloë Sevigny was the face of the 2004 Viva Glam IV, marking the 10th anniversary of the organized effort. She has since been joined by Dita Von Teese, Fergie, Rhianna, Sia, Lady Gaga, Miley Cyrus, Ariana Grande, and many other top-tier artists and celebrities in the effort to fight “ against AIDS with M.A.C lipstick. In the nearly 28 years of M.A.C Viva Glam, Ange- lo and Toskan’s advocacy for change and awareness has amounted to more than $500,000,000 in sales, all going directly to charities. The campaign has since broadened its recipients to include funds for the LGBTQ+ communi- ty as a whole and women and girls as well as the original cause, AIDS research, and awareness. In 2021, M.A.C launched the 27th Viva Glam cam- paign, a collaboration with the deceased queer street artist Keith Haring. Haring’s pop art promoted AIDS awareness and safe sex, so a partnering of his work with the M.A.C Viva Glam campaign makes perfect sense. Keith Haring was a New M.A.C’s activism and their solidarity with the c”Yorker and much of his work was inspired by New York City queer community were consistently present since and its culture. The Viva Glam collaboration includes three the beginning of the Viva different lip colors named Glam campaign in 1994. after Haring and New York locations; Red Haring, The incorporation of St. Marks Yellow, & Canal queer artists’ work as a Blue. These primary colors way to honor them and were often used by Haring continue their work is a in his work and the lipstick powerful performance of 2021colors speak to the fun playful nature of his art. solidarity and creates a new level of inclusivity that is often absent in the fashion industry. The multiple-decade campaign is truly a refreshing take on fashion, art, and design within the LGBTQ+ community. 65



GLAVMI2V7A “That’s SO New York.” Photography Gigi Gibowicz Models Esha Dudhewewala Ariel Moss Kelly Williams Pg.67

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Non-Binary fashion featuring Nicole Bartnikowski Pg. 85

G ender identity is man looks when he dresses completely separate from patriarchal gendered norms, feminine”, Nicole says. but in reality, there are no boundaries when it comes to inherently tied to how we as gender and fashion. Gender is a spectrum and it can be humans present ourselves. “I want to give the reflected beautifully through fashion. We dress our bodies in a impression of how way that reflects how we a gay man looks identify. Female-born indi- when he dresses viduals have been expected feminine”. to present themselves as feminine and male-born In the past, Nicole individuals have been ex- has struggled with how pected to appear masculine. non-binary people are As more queer people are “supposed” to dress. “I’ve open about their identities always thought that if due to cultural and political you were born a girl, you changes, gendered fashion dress masculine and if you has become less significant. were born a boy, you dress Gender-neutral feminine”, they explained, fashion is not a new con- outlining how they former- cept contrary to popular ly perceived non-binary opinion. Gender non-con- fashion. Recently, Nicole forming individuals have has met individuals that been dressing against so- were born female and still cietal norms since as early choose to dress in a femi- as 400 B.C.E. when Hijras, nine way while identifying people in India, identified as non-binary. There is no as a “third gender”; neither specific way that gender female nor male (Abram). non-conforming people, Now, there is much more or anyone for that matter, variety in terms of gender are supposed to dress. “It’s identity, and the way that a new concept for me,” they non-binary people dress admit. It’s difficult to pres- themselves is much more ent oneself in a way that is complex. Nicole Bartnikowski, a first-year student in the dual-degree program at The New School in New York City, identifies as non-bina- ry and reflects this lack of conformity through fash- ion. Nicole describes their gender as fluid and uses the term ‘non-binary’ when identifying themself. Nicole combines both masculine and feminine clothing piec- es that convey a style that they described as “Farmer’s market lesbian, earth-toned cowboy, vintage Disney channel, early 2000s y2k babysitter M.I.L.F.” Nicole wants the expansive and eclectic style they described to come off as gender-neu- tral. “I want to give the impression of how a gay 86

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RADICAL FAE The Gay Liberation Movement R Celebrating Queerness and its Existence in Nature I n 1979, John Burnside, Harry Hay, Mitch Walker, and Don Kilhefner held a spiritual conference in the southwestern United States. These founders of the Radical Faeries were previously part of the gay liberation movement. Acceptance of the queer community was the goal of the liberation movement, but many individuals soon realized that gay culture was being incorpo- rated into mainstream society, forcing their differ- ences to be naturalized and denied. In response, the Radical Faeries were created, marking a new stage in gay liberation. Historically, both the queer and pagan communities have been cast out from mainstream society, especially by the hegemon- ic values of Christianity. In a sense, the Radical Faeries combined these two communities, incor- porating pagan inspired rituals and nature-based religion into sexuality. Queer people were allowed to feel sexually empowered by following this form of spirituality. The creation of the Faeries was a direct Photography 92 Gigi Gibowicz Pages 95-97

response to the hegemony. By calling these confer- ences, Burnside, Hay, Walker and Kilhefner created a beautiful and unique subculture that rejected gendered socity. Susan Stryker, gender and sexuali- ty theorist, describes gender as, “porous, permeable, and open-ended”. The Radical Faeries truly embod- ied her vision for an idealized future. Gender is, “porous, permeable, and open-ended”. - Susan Stryker The term “faerie” was once a negative stig- matized label. However, the Radical Faerie move- ment allowed queer people to reclaim this term. IES The Faeries were all about reclamation and beautifully constructed outfits that resemble the likes of a self-realization in fact. They preached the godliness true faerie while also abolishing gendered fashion and the of being queer, essentially worshipping gay love and assimilation of queer culture. sexuality. By doing so, they created fabulous and strange fashion that reflected their various gender Author Gigi Gibowicz expressions and sexualities. Costumes were central to the Faeries’ celebrations. In 2011, the Radical 93 Faeries honord Saint Brigid and the spring season with a New Orleans ball in which members dressed according to the theme, “Legends of the Woods”. The subculture’s strong ties with the natural world was truly reflected in their fashion choices. In addition to whimsical, eclectic, drag-like clothing pieces, the Faeries also incorporated feathers and flowers as a fashionable bricolage. Their costumes were, and still are, truly remarkable. The group stands out from the mainstream with their bright colors and

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