ROOTS

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• ALTR sustainable fashion magazineR VOL IV
• ALTR sustainable fashion magazine volume IV contributorsSustainable Fashion Team, ALTR Magazine michelle thatcher CEO, U.S. Green Chamber of Commerce Head Editor, ALTR Magazine riya khetarpal alexis emch anna mowris caiti swearingen declan fonesca dhanya kolisetti joelle koh karen su kayla palmer mark asch melinda enkherdene cover illustration by alexis emch, photography by riya khetarpal
• Page 3if you followed your roots, where would they lead? When you think of a root, images of mighty, grounding branches may come to mind. In nature, though, roots are more than just protective anchors- they are used as tools of communication, sharing, and connection. Tree root systems, for example, are well-known for being the epitome of collaboration and community. They utilize their woven networks to share water, nutrients, and even information.
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• Page 5about us. ALTR Magazine is a digital publication that aims to bring forth a new vision of how we see and interact with fashion. Like a traditional fashion magazine, we provide fashion news, style inspiration, and lifestyle tips. However, we push beyond fashion as simply an aesthetic concept or a consumer industry. We ask challenging questions about sustainability, ethics, and social and environmental justice. Questions that are not discussed frequently enough in the mainstream fashion industry.
• Page 6One of the things I have learned at my ripe old age of twenty-two is that nothing in this life is static-even when we're certain we are planting seeds somewhere deep and permanent, our innate tendency to grow never truly disappears. If you asked me four years ago what I would be up to now, I can guarantee you I would have described a life much different from the one I am leading now. My roots branched out in ways I never could have possibly predicted, demonstrating to me firsthand how our potential exceeds what the capacity of our imagination permits us to envision for our futures. My love of the environment, styling, photography, and especially my role at a sustainable fashion magazine were not things that I had planned, but are rather opportunities that presented themselves when I needed them. I don't think this is an experience unique to me. In fact, unbridled change is a canon event for most of us, for better or for worse. But this is the beauty of it- while we must learn from the past, it does not have to define our future.
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• Page 8CONT September 2025
• ENTS in knowledge43 63
• Sustainable Fashion CertificationU.S. Green Chamber of Commerce Get Certified!
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• Page 14XOX X
• WEAVING MEANINGINTO EVERY THREAD In the kaleidoscope of contemporary fashion, we've become mesmerized by the shimmer of newness while losing sight of the soul beneath the surface.
• WHEN COLORS TELL STORIESCenturies before designers debated color wheels in sterile studios, the artisans of rural India were fluent in chromatic poetry. Here, color has never been just color -it's alive, breathing with religious meaning that transcends the visual. At a wedding in Kerala, I watched sunlight streaming through the foliage onto a bride in her crimson lehenga. The red fabric seemed to pulse with its own heartbeat - each sequin catching fire as she moved. "Red is goddess Lakshmi's blessing," my grandmother whispered to me, as she noticed my eyes following the fabric. "When she wears red, prosperity embraces her." The bride's vermilion silk rippled like liquid flame as she circled the sacred fire, carrying in each fold the whispered prayers of generations of women before her.
• Page 17Every Saturday in my grandmother's house I watched the ladies of an ashram preach words of wisdom in pristine white cotton saris. "Why always white?" I once asked her, tugging at her pallu as we sat next to each other on the sofa. "White is where everything begins and ends, like Saraswati's knowledge," she explained, her voice soft with reverence. "It's pure enough to hold prayers, yet strong enough to hold grief." White in India isn't emptiness but fullness-breathing with the gentle power of all possibilities, like the blank page that contains every story ever told. wh
• INDIA'S GEOGRAPHICAL FABRICSLike language dialects, color combinations vary across India's diverse regions, each telling a unique story of place and people. The marriage of red and green in North Indian wedding attire is a visual poetry that balances feminine energy with abundance, creating harmony between complementary forces. These colors don't simply sit side by side; they converse with one another, telling stories of earth and passion, growth and vitality. The deep indigo backgrounds of Ajrakh prints from Gujarat and Sindh reflect centuries of relationship with both earth and sky. Artisans harvest indigo plants, coaxing deep blue dye from their leaves through ancient alchemical processes. When block-printed with intricate patterns in contrasting earthy reds and whites, these textiles become cosmic maps- stars scattered across a midnight sky. To wear such cloth is to carry a piece of the universe against your skin, connecting you to generations of craftspeople who understood that a simple square of fabric could contain worlds.
• Page 19In Assam's silk tradition, golden muga threads shimmer with an inner light that catches monsoon afternoons. The natural color comes from the diet of muga silkworms, which feed exclusively on som and sualu leaves, creating a unique hue impossible to replicate artificially. At a weaving cooperative in Sualkuchi, women work these precious threads into mekhela chadors, their hands moving with practiced precision. The resulting fabric holds the warmth of Assam's hills, each strand carrying the essence of the landscapes where the silkworms once lived. Andhra Pradesh's kalamkari art blooms across cotton like botanical gardens frozen in time, with deep indigos and madder reds punctuated by delicate ivory. Women in Srikalahasti gather in workshops, their hands steady as they guide the kalam (pen) filled with natural dyes across stretched fabric.
• BRINGING COLOR CONSCIOUSNESS TO MODERN WARDROBESIn our closets filled with mass-produced garments, we've largely lost an intimate relationship with color. We choose hues based on trends or fleeting preferences, rarely considering their deeper resonance or the way they once carried meaning, emotion, even healing. What might change if we approached our wardrobes with ancient wisdom in mind? Perhaps on days when grief weighs heavy, you'd reach for the emerald green blouse-not randomly, but with the understanding that green carries the frequency of the heart chakra, that its wavelength vibrates with healing and renewal. You might notice how, by afternoon, your chest feels less constricted, your breath deeper, as if the color itself had been quietly working to soften your knot of sorrow.
• Page 21This practice of color consciousness isn't about rigid rules but about reclaiming a more thoughtful relationship with our clothes-one that recognizes their power beyond aesthetics. When you understand that the yellow dress in your closet carries the energy of optimism, you might reach for it on days when you need lightness, like carrying a small sun through cloudy uncertainty. In a world that encourages disposable fashion and superficial relationships with clothing, placing deeper meaning in our clothes using color as a guide becomes an act of resistance
• Page 22Reconnecting with color's deeper meaning offers a pathway to more intentional dressing. Your wardrobe becomes not just a collection of garments but a personal pharmacy of visual medicine, a gallery of cultural memory, and a daily practice of mindfulness. The next time you stand before your closet, pause. Let your eyes rest on each color. Notice which ones call to you today. In that moment of attention, you participate in an ancient conversation-one conducted not in words, but in the silent, powerful language of color. Your choice becomes not merely what to wear, but how to paint yourself into the world, how to wrap your body in visible intention.
• Page 232 ROOTED
• HAMSEHIT WASN'T UNTIL I GOT OLDER that I came to appreciate the rugs that adorned my childhood home. The swirling intricacies of the patterns begging to tell a story, of how each symbol so intentionally placed exists perfectly in relation to one another. What a gift it is to have this tangible mosaic of my family's culture right in front of me, passed down from each generation. 0
• Page 25The designs found in Persian rugs represent far more than aesthetically pleasing. patterns of shapes. Each design holds priceless symbolic significance, serving as the foundation of this highly intentional practice [3]. Each style of Persian rug is distinguished by the town or province where it was made and is named after its place of origin. These symbols include religious imagery, historical monuments, and depictions of everyday life, culminating in a story spread out across each thread [3]. For example: HERATI originating a pattern Afghanistan, my grandfather's birthplace (also referred to as mahi, meaning 'fish' in Farsi), reflects nature's beauty through water and floral motifs. This pattern is said to bring good fortune and prosperity, and operates as a manifesting power in one's home [3].
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• G OUTA COLLABORATIVE PLAYLIST BY ALEXIS EMCH
• Page 30WHY A PLAYLIST? Personalities are rooted in our interests; likes, dislikes, and can't- live-withouts. Music has become ingrained in our culture as an integral part of our interests and personalities. The number of articles based on guessing your personality based purely on your top artists or first-date questions centered around your favorite genres dominates our culture. Basically, many consider music to be a pillar of one's personality.
• THE SOUNDTRACKHalo by Alice Phoebe Lou ✰ Confused B*tch by DBBD & Miss Bashful
• CYBER STOCKHOLM SYNDROME"This song reflects my attachment and deep history with the internet. I've always been drawn to online spaces and communities. For better or worse, the internet and my relationship with it have defined my personality, humor, style, and interests today. This song deeply reflects this integral part of my life, the good, the bad, and the ugly." Alexis ALL THINGS END
• Page 33ZARI "Marina Satti represented Greece with her song Zari which was written specifically for the Eurovision Song contest of 2024. When I first listened to this song it resonated deeply with me. I chose this song for this specific research (although with great difficulty) as zari's fusion of both traditional and modern sounds spoke to me on a deeper level. I was really proud for my country for intertwining cultural roots (hence the identification with the song) and contemporary expression. The song's iconic rhythm mirrors my personality as I try to maintain this "cheerful" if we could say attitude towards life." - Effie
• PHOTOGRAPHY, WRITING & GRAPHICS: ALEXIS EMCHMODEL: DECLAN FONSECA CONTRIBUTORS: THANK YOU TO EVERYONE WHO
• THE ECOLOGY OF GRATITUDEHumanity sees "THE LAND GREW AND GREW AS SHE DANCED HER THANKS, FROM THE DAB OF MUD ON TURTLE'S BACK UNTIL THE WHOLE EARTH WAS MADE."
• Page 36Kimmerer doesn't just preach that we should reconnect with the land; she practices it. In the chapter "Learning the Grammar of Animacy," Kimmerer details the start of her journey to reconnect with a language once lost. Indigenous languages are among the most lost due to colonialism; there remain few speakers to teach and few who fully learn. It's a challenge that Kimmerer takes on with determination and grit. With every word pushing her closer to this unimaginable goal. Kimmerer stuffs every Potawatomi word she mentions full of imagery, resulting in a dreamy. imaginative understanding of learning a language. She lingers on the first word she learns, Puhpowee, letting it settle on her tongue and the page alike. The thought and care she puts into lovingly describing these new words are intentional. Potawatomi language, like many other Indigenous languages, was targeted in a mass campaign by Western colonizers to wipe out any language and culture the West deemed as not 'civilized' enough: "THE POWERS OF ASSIMILATION HAD DONE THEIR WORK. MY CHANCE OF HEARING THAT LANGUAGE, AND YOURS TOO, WAS WASHED FROM THE MOUTHS OF CHILDREN IN INDIAN BOARDING SCHOOLS WHERE SPEAKING NATIVE LANGUAGE WAS FORBIDDEN."
• Page 37Kimmerer ends the conversation with a Cheyenne elder named Bill Tall Bull. To combat her feelings of falling short, Bill Tall Bull assures her that her efforts are anything but in vain: "THEY LOVE TO HEAR THE OLD LANGUAGE'...' YOU DON'T HAVE TO SPEAK IT HERE,' THEN PATTING HIS CHEST, 'IF YOU SPEAK IT HERE. THEY WILL HEAR YOU." "LEARNING THE GRAMMAR OF ANIMACY" PAGE 59.
• Page 38In this case, for many Western scientists and Indigenous scholars, they are screaming the same thing to us all, yelling so loudly only to be drowned out by the piercing hunger of the Windigo. Scientists and Indigenous knowledge agree that we are ultimately doomed if we allow the Windigo to win. Kimmerer uses her scientific background throughout the book. Her use of scientific knowledge to explain the technical aspects of buoyancy in plants contrasts with her imaginative comparisons of her and her daughter's relationship, creating a beautiful story in "The Consolation of Water Lilies." Reading this chapter wholly connected me with Kimmerer, her vulnerability as a mother whose children all left the metaphorical 'nest'. Kimmerer's own raw emotion, written down, resonates with me through the image of my mom. What she and Kimmerer felt stared back at me.
• Page 39Reciprocity is a central theme throughout this book; what we give is what we receive at the end of the day. Kimmerer goes through her journey, learning Potawatomi to speak to the land and other native stories and practices to help her reconnect her heritage to her current life. She marks her journey through reciprocity; she pulls out fables and myths tied to connections and relationships to tie back into her message of connection. We are all connected, while we might seem disconnected from each other and the land on the surface, like water lilies in a pond, that couldn't be further from the truth. Everything from the plants growing in the cracks of the asphalt to the friends you see daily, you are connected through your roots. Kimmerer starts Braiding Sweetgrass with creation myth of Skywoman, who reciprocated the generosity of the animals by creating plants on Turtle Island. We are the descendants of Skywoman, Kimmerer urges us to return to our roots and relearn what it means to reciprocate.
• GAB-AGEWA Turning Trash into High Fashion
• Page 41As a model, I experienced firsthand what made Garb-Age so special. Walking in designs made from bubble wrap, old curtains, and zip ties felt like stepping into a dream built from scraps. Many of our designers weren't just experimenting with fashion for the first time-they were exploring materials they'd never imagined as wearable. That spirit of experimentation brought us closer. There's a unique kind of camaraderie that forms when you're hot-gluing a last-minute fix backstage or figuring out how to strut in cardboard. It was messy, chaotic, and completely unforgettable. Serving as model director added a new layer of magic. From early brainstorming sessions to final runway reveals, I witnessed each design evolve. I helped designers imagine what was possible. We went dumpster diving, collected items off the street, and scoured secondhand stores in search of forgotten gems. As someone deeply passionate about sustainability, seeing it come to life through collaboration was powerful. These weren't just clothes; each dress, jacket, and accessory was one less item in a landfill, one more act of creative resistance.
• Page 42The runway's impact extends far beyond a single night. Students who once overlooked the environmental cost of their closets are now thrifting more, organizing swaps, and learning how to mend rather than discard their garments. Some have even launched sustainable styling pages or upcycling businesses. That ripple effect-transforming one show into sustained action-is the true heart of sustainability. More deeply, Garb-Age Runway invites us to reconnect with our roots. Not just as students or creatives, but as stewards of the Earth. We are all part of the same ecological fabric. The choices we make-what we wear, what we waste, what we value-don't exist in isolation. They grow from shared soil and collective responsibility. When we stitch together discarded materials, we also stitch together our fractured relationship with each other and with the land.
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• RECLAIMING THE ROOTSREI CO-OP
• WHY IT MATTERSALTR Magazine THE HIDDEN DANGER LURKING IN YOUR GEAR:
• PFAS-FREEINNOVATIONS IN OUTDOOR FASHION THE PROBLEM: WHY PFAS
• Page 47While PFAS may keep you dry on the trails, their environmental impact is disastrous. When washed, PFAS-laden fabrics leach toxic chemicals into water supplies, contaminating rivers and lakes [1]. These substances don't biodegrade, leading to long-term contamination of ecosystems. Wildlife exposed to PFAS can experience reproductive issues, with studies showing that these chemicals can reduce fertility, alter hormone levels, and even cause developmental abnormalities [3]. For example, research has found that PFAS exposure in fish can lead to reduced reproductive success and deformities in offspring. Similarly, for humans, consuming contaminated water or food has been linked to various serious health risks [2]. Studies have shown that PFAS exposure is associated with an increased risk of several cancers, including kidney and testicular cancer, and can disrupt hormones, leading to thyroid disease and developmental issues in children [2]. A 2019 study by the CDC found that over 200 million people in the U.S. may have PFAS in their drinking water [2]. Additionally, PFAS exposure has been shown to impair immune system function, increasing susceptibility to infections and reducing vaccine efficacy [2].
• INNOVATIONS IN PFAS-FREE GEARThe shift to PFAS-free materials is more than a buzzword-it's a game- changer [3]. Here are some innovative options making waves: 2025 ANNA MOWRIS
• CORPORATERESPONSIBILITY AND TRANSPARENCY GREENWASHING: THE FASHION INDUSTRY'S DIRTY SECRET
• INTERVIEWS WITH KEY INDUSTRYPLAYERS Stephanie Fraser
• Page 51Educating the Consumer―or Not? Interestingly, Fraser is skeptical about how much consumers care about PFAS. "There's a growing awareness, but most customers aren't looking at product labels for chemical compliance," she says. Instead, she focused on internal traceability, identifying every impacted product and updating compliance messaging accordingly. "Some companies are in it to find loopholes; others want to share the honest challenge of this transition." Fraser's sourcing philosophy extends beyond environmental metrics. She views international suppliers as an extension of the company-people with names, families, and livelihoods that are impacted by business decisions made worldwide.
• REPACKINTERVIEW Jonne
• Page 53Yet one of their most significant challenges remains consumer behavior. "You can design the perfect reusable package." Hellgren says, "but if it never gets returned, the cycle breaks." Making Returns Easy-and Rewarding To address this, RePack engineered an experience that is both intuitive and responsible. Every RePack mailer comes with a prepaid return label, enabling consumers to drop off the empty packaging at any post office box worldwide. To sweeten the deal, customers often receive a reward-typically a discount-for returning it.
• HOW BRANDS CAN OVERCOMECHALLENGES C2025 ANNA MOWRIS
• 2025 ANNA MOWRIS1. Shift to PFAS-Free Alternatives Across All Product Lines Start by targeting high-performance gear-such as jackets, pants, and backpacks-where PFAS have been used for water- and stain resistance. Brands like Patagonia [8] and The North Face [9] are leading the charge with sustainable alternatives. Patagonia, for instance, has adopted PFAS-free, non-toxic DWR (durable water repellent) coatings, while The North Face offers gear made from sustainable materials that don't compromise performance. These alternatives meet consumer expectations for durability and comply with environmental regulations. By highlighting these brands, others in the industry can see that transitioning to PFAS- free gear is not only possible but already underway, with consumers taking notice.
• REDEFINING PERFORMANCEWITH PURPOSE The movement to eliminate PFAS from outdoor apparel is more than a regulatory response it's an ethical imperative. While progress is underway, systemic change requires continued innovation, collaboration, and transparency [12].
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• Page 58OH, FOR THE LOVE OF RETAIL! ALTR Magazine
• by RIYA KHETARPALAs a generation, "thrifting", "vintage", and "secondhand" have become buzzwords when it comes to fashion. However, despite Gen Z having one of the highest rates of secondhand shoppers across generations, only 42% actually shop secondhand. So, where do the remaining 58% get their clothes? The answer is retailers. When you think about fashion retail, several things may come to mind- small-business boutiques, popular online storefronts, luxury department stores. Despite their variety in assortment, they do all have a couple of things in common: they all sell clothes, and they are all businesses. In our current societal structure, almost everything done by a business is for the sake of revenue. Traditional business models focus on profitability, utilizing a one-dimensional model that defines success in terms of economic capital and financial assets. But in a society, nation, and planet that is in a constant state of accelerated change, is this truly the most effective benchmark for success?
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• Page 61Figge & Hahn (International Journal of Production Economics, 2012) utilized this idea of multiple forms of capital to challenge traditional notions of profitability, which typically take what Shrivastava (1995) describes as a "burden-oriented" lens [1]. This perspective is exactly what it sounds like an approach to profitability that focuses on the ways in which different considerations and factors burden the ability to produce revenue. For instance, this could take the form of cost minimization: how much will this new initiative cost, and is it necessary to maintain the profit we are currently outputting? In this lens, it is almost always impossible for sustainable and environmentally-friendly programs to win. Sustainable practices require investment! This is not new news, but the short-term perspective inherent to the burden- oriented lens prevents these programs from reaching a point of efficacy within this model. 07
• Page 62Now, all of this "perspective" talk culminates into a singular economic model: true cost economics. The Economic Times defines true cost economics as an "economic model that includes the cost of negative externalities associated with goods and services" [3]. In other words, this model takes into account social and environmental impact when considering cost and profit. Again, this includes things like the strain on natural resources, public health, and labor practices. On paper, and given all of the benefits we just outlined, it seems like a no-brainer for companies to adopt a true cost economic model- I mean, why not, right? If there is a way to both increase business longevity while absorbing the cost of social and environmental impact, what's the hold up? Unfortunately, there is no explicit black-and-white explanation for this. But perhaps the reason, at least within the world of retail, lies in the nuance of what this cost absorption may actually look like in an industry focused on the production and consumption of tangible goods. The product economy in the world of retail is not inherently circular; that is, it does not allow for the easy recovery of product value at the end of their life cycles. Therefore, the process of production, consumption, and disposal of retail goods has been inevitable in the business model since its inception. This is further exacerbated by the modernized culture surrounding clothing and fashion, which has become increasingly trend-driven. In the past, designers and fashion houses released approximately 2-4 collections a year, based on season: fall, winter, spring, and summer. This is where we get the abbreviations you may see quite often during fashion weeks (FW = Fall/Winter Collection, SS = Spring/Summer Collection).
• SADIE SINKA New Era Contemporary companies then utilized these runways to adapt designer styles into ready-to-wear items, allowing these high-end designers to shape trends and creating a trickle-down effect that would carry on to the average consumer. However, while this product lifecycle based on season is still applicable to most high-end designers, THE LOWER TIERS OF THE TREND CYCLE HAVE BEEN INCREASINGLY ACCELERATED. This has caused companies to produce new styles at a higher rate, releasing new items on a monthly, weekly, or even daily basis to keep up with consumer demand.
• Page 64So, what is the hold up? Our capitalistic roots may only be half the answer, as our value-oriented lens suggests [1]. In theory, a true cost economic model allows for increased business longevity and a long-term perspective that will drive a broadened customer base, ultimately reconciling the previously incompatible co- existence of sustainability and maintained (or even increased!) bottom lines. However, in an industry driven by accelerated trend cycles and the constant demand for new physical goods, it can be more difficult to find a middle ground. In order to make major moves towards more sustainable practices in retail, the first step is to slow down. Slowing down our consumption, yes, but also our trend cycles, our timelines, and our mindsets. Obviously, easier said than done; but being conscious about our own hyper-productive approach to life may be the best foundation for long-term change in the retail industry, and beyond. And I hope to see you there, one day. written, designed, and photographed by RIYA KHETARPAL
• Draped in Meaning"To despise fashion as frivolous is there- fore the most frivolous posture of all." Wilson, 2003, p. 277 Much like a sprawling metropolis, the fashion industry is a study in contradiction. Its landscape at once beautiful and grimy, lofty and lowbrow, a tapestry of art, commerce, and invisible labor stitched together with gold thread and frayed seams. Through self-adornment, the clothes we wear mark the contours of both personal and collective identity, reflecting patterns of migration, cultural exchanges, and socio-political ties. As commodities, garments offer insights into the shifting dynamics of labor systems, manufacturing methods, and global trade networks. Yet despite its layered complexity, fashion is often dismissed in serious discourse. Seen as a shallow indulgence for the rich or a fleeting pursuit for trend-followers. The ethical and environmental crises plaguing the industry -mass production, overconsumption, exploitative practices- further reinforce this view, reducing it to a symbol of excess and frivolity. This dismissal obscures fashion's underlying role as both mirror and maker of social reality, its power to simultaneously reflect and shape the human experience.
• ALTR MagazineSergey The Unsplash License
• Page 67In The Painter of Modern Life (1863), Charles Baudelaire emphasizes fashion as a crucial element of modernity, tying contemporary life and the essence of humanity. For Baudelaire, fashion is a living reflection of its time, animating art with the immediacy of the present. Psychologist Ernest Dichter's dialectical understanding similarly states that fashion, "expresses the zeitgeist, the spirit of the times, and in turn can influence it." Fashion is thus a mirror to the political, economic, and cultural pulse of society. Across the centuries, it has swung like a pendulum, responding to moments of change with corresponding shifts in aesthetic expression. Liberated hemlines and androgynous 'La Garçonne silhouettes of the roaring 20s embodied the spirit of women's emancipation and Jazz Age rebellion, signaling modernism and newfound social freedoms. During the Great Depression, fashion adapted to dominant values of resilience, tradition, and frugality, with bias-cut gowns and longer hemlines offering a form of visual escapism through the fantasy of Hollywood's Golden Age. The standardized wartime utility suits of the 1940s moved into an unapologetic use of textiles in the 1950s, as opulent evening wear echoed a longing for beauty after years of sacrifice. By the 1960s and 70s, mod mini-skirts, thrifted hippie garb, glimmering disco wear, resistance fighter- inspired uniforms, punk anarchism, and flamboyant glam rock all emerged in response to ongoing war, civil rights and social justice activism, stagflation, and widespread institutional authority. In the 1980s, fashion mirrored the rise of social conservatism and neoliberalism, as power suits and brand-centric consumerism projected ambition, status, and materialism.
• Getty Signature. Free Image from CanvaBut even seemingly subversive choices can rapidly be absorbed into the machinery of mass production. Today, we see a market saturated with those refined basics and once-personal accessories, this time rendered indistinguishable from the trends they critique. In their broader analysis of the culture industry, Dialectic of Enlightenment (1944), Theodor Adorno and Max Horkheimer write of fashion as a tool of standardization, commodification, and control. The system operates within a paradox: the promise of individuality tethered to homogenization. The proliferation of trends mirrors the culture industry's cyclical monotony, a perpetual return to the same under the guise of change. Sociologist Jean Baudrillard extends this critique, framing the industry's constant alteration as a simulacrum of forward movement, a spectacle that co- opts and dulls the aesthetics of progress to maintain the status quo. Fashion is increasingly stripped of its context, flattened into mood boards microtrends, and sold back to us. Modern fashion breathes to the rhythm of industrial capitalism, its pulse quickened by the ever-turning wheel of desire. Cultural historian Elizabeth Wilson, in her 1985 Adorned in Dreams, captures this entanglement with sharp clarity: "Fashion speaks capitalism." As both a parent and child of capitalism, fashion thrives on novelty and planned obsolescence. It commodifies identity, packaging it into marketable fragments while dictating what is in vogue or passé. Capitalism kills and appropriates and generates a staggering and ALTR Magazine amount of waste. It also dazzles with great wealth and beauty and aspiration, though often for dreams just out of our reach. Fashion is the manifestation of all these contradictions, and so we are caught in a paradox. We love and hate fashion just as we love and hate capitalism
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• Page 70WHAT'S IN FASHION? A HISTORICAL LENS ON FASHIONABILITY
• Page 71How fashionable do you think you are? Nowadays, this is a very subjective question with no definitive correct answer. However, it was not always so subjective. Societies used to rely heavily on monarchs and the upper classes to define what was and was not fashionable. Little wiggle room was allowed outside of the fashion standard of that decade. Now, due to the widespread accessibility of fashion, it has become more individual. Fashionability dates back to when humans started wearing clothes; it's built within us to gravitate towards wanting to be fashionable or fit in. Reviewing how fashionability has evolved to how it is perceived today, we can understand how clothing has continuously been used as a means of control. From using fashion to control class mobility to using it to pressure people into constant consumption, we must reflect on how to reintroduce the slow consumption of the past more ethically and inclusively. Comparing fashionability today to how to be considered 'fashionable' in ancient times is stratospherically different. It's important to reflect on such a concept and how it came to be: the good, the bad, and the ugly. The difference in how we acquire clothing has catapulted many into a 'fashionable' sphere, with dire consequences. Our world can't keep up with the increasing output of clothing, something needs to slow down.
• Page 72Fashionability expanded into multicultural realms with the fueling of trade routes. These laws were introduced not only to ban lower classes from having these materials but also to restrict access between populations. Up-to-date fashion was an indicator of a thriving and well- connected society. Still, nobles and higher classes used these laws to restrict this indicator to their social circles only. As technology and mass manufacturing evolve, the definition and space of fashionability, so do the means to control populations through clothing. Beyond that, the major silhouettes that defined fashionability moved much slower. Fabrics becoming popular took infinitely longer than they do today. One or two decades could be ruled by one major silhouette. Microtrends did not exist- or if they did, they had little impact. In short, being fashionable meant sticking with the same silhouette and adjusting it slowly as time went on. For example, in Victorian England, the 1860s silhouette was defined by a wide skirt that showcased how much fabric one could buy. As the 1880s came around, the silhouette was pulled backward and bustled. Women would take their 1860s fashionable garments and bustle the extra skirt fabric in the back to reuse the same garment restyled to fit the fashionable standard of the new decade. Such a thought process came from one of expense; a rare few could cough up the money for a completely new gown that fit them perfectly and was in style, so knowing how to upcycle and sew was imperative to stay fashionable at a reasonable price.
• Page 73milestone in fashion. The creation of standardized sizing eliminated the previous need to have every garment you own tailored to your exact measurements [3]. The reason why many can't fit into garments from the earlier era is because each garment was tailored to that person's body type; it was made for one person and thus rarely fits others. Standardized sizing created a guide that vaguely fitted everyone into a convenient label of S-M-L and others. Standardized sizing and the closely following creation of department stores made clothing a lot more widely available. Designer brands had their ideas and silhouettes taken from the runway and copied into oblivion by department stores, meaning that anyone in a Sears or Macy's could conveniently purchase the once highly priced garments. No other case study exemplifies this more perfectly than the Dior New Look. The puffy skirt and tighter top were reproduced and copied thousands of times by almost every retailer; the silhouette was inescapable. This is exasperated by Zara, widely considered the first fast fashion outlet born in the 1970s. Their early mission statement boasted that they could recreate a designer look and have it in stores in 15 days. Zara became one of the first to push fashion faster and faster, and many others soon joined in [4]. The widespread availability of being 'fashionable' truly started around the 1950s, at least in the Western Hemisphere. The world was connected, fabric and materials were the cheapest in history, and the scene had been perfectly set for everyone to be fashionable. Yet therein lies the issue: everyone followed a certain couple of silhouettes and trends to be fashionable. Due to the slow- moving nature of previous decades, only a couple of styles were considered popular and socially acceptable. If you didn't follow them, at best you would just be stared at, and at worst, shunned from society.
• Page 74One trend that has transcended history is that fashionability remains, at its core, a tool used to control. Back in the early stages of history, whoever had the money to be fashionable could be, and everyone else was physically banned from even trying. Now, it's encouraged for everyone to continuously follow every single microtrend that the internet and corporations dream up that holds the power. For example, in a couple of months, we saw the rise of the bows and mini skirts of the coquette style, which was followed by the minimalist sharp silhouette of the clean girl, before pivoting to the blazers and mini glasses of the office siren [5]. Each of these trends encouraged people to buy an entire new wardrobe for the aesthetic. While fashion has become more individual, there are still cultural and societal opinions that pressure many to follow similar trends to keep up. Consumerism has become the largest gatekeeper of being considered fashionable. One moment, clean, simple colors and cuts are in; the next, furs and dark allure. In one month, there can be five different trending styles that people feel the need to continuously follow to feel fashionable.
• Page 75For many, fast fashion is one of the only options they have because it is what is available and cheap. While everyone can be fashionable, only those who have the money to pay have access to quality fabrics that will last. It seems like a hopeless situation, but to give up and give in to consumerism is not and will never be the road to a more sustainable future. Looking at the past is a double-edged sword. Yes, it's deeply important to take from their slow consumption and invest in garments that will last forever and fit their bodies; we shouldn't copy their playbook exactly. Sumptuary laws were classicist tools used to control people's bodies and should not in the slightest. What we can take from our ancestors is their adaptability and mindset that f fashion isn't about how much you have but rather what you do with what you have. Cycling back to the example of Victorian women using their old garments and simply refurbishing them to fit the ideal of the time, this adaptability is what will push us into a more sustainable scene. Fashion shouldn't be a competition between those who can own the most clothing; the amount of clothing you own will not automatically bring fashionability. Rather, fashionability come rom finding what you love, investing in what you love, and caring for the clothing that you love. Microtrends are temporary, but your comfort and joy are forever. Reflecting on the past you can often find out how crafty and resourceful people were with their fashion. That is the true takeaway from the fashionability of before, rather than compete to be fashionable you should learn to stretch out fashionability. You can be sustainably fashionable by upcycling what you already have into something unique to you, learning how to mend to stretch out your favorite pair of jeans for many more years together, thrifting vintage pieces made of quality materials, or just reflecting on your clothing habits and pushing for an internal change. Fashionability is what you make of it, so make it sustainability yours.
• By: Mark AschUNDER THE SOIL THE DARK ROOTS OF THE FASHION EMPIRE
• Page 77The global economy is a vast web of connections. Our awareness of the supply chain networks stringing it all together, however, is foggy at best. Do you genuinely know what ingredients make an Oreo? Where did they come from? What is Riboflavin anyway, and why is it in this delicious treat? It's not our fault that these questions seem trivial. We lead busy lives and focus our energy and attention elsewhere. Still, the example highlights how easily production hides information from consumers. It extends far beyond tasty snacks. Unlike food, most products are not legally required to include a visible ingredient label in their packaging, from face masks to iPhones to a pair of jeans. Most shoppers are likely unaware that 43 million tons of various chemicals are involved in clothing manufacturing processes every year [1]. The iceberg metaphor offers a powerful way to understand hidden complexities: what we see above the surface is only a fraction of the whole. The bulk lies concealed underwater. The concept is is strikingly relevant for fashion. Companies present an abundance of clothing choices, vibrant trends, and the allure of constant renewal. Online shopping offers an appealing and seemingly infinite landscape of possibilities. However, lurking below is a sprawling mass of exploitation. The fashion empire's iceberg rests atop violent histories, building entire economies from systematic abuse [2][3]. This legacy of injustice persists through modern forms of slavery, environmental degradation, and widespread pollution, all of which remain invisible to everyday people. To pierce beyond the slew of ALTR Magazine clothes today, we must dip our heads beneath the surface and confront the whole iceberg. By delving into murky waters, we acknowledge the ongoing impact of history on a global enterprise, revealing unsettling truths that underpin our shopping choices.
• Page 78cotton textiles were common in Meso- American, Andean, Asiatic, and other civilizations, but were largely absent from international markets [3]. Early slave labor of the first abducted Africans shipped to Britain's American colony in Port Comfort, Virginia, in 1619 centered around tobacco agriculture [2] [3] [4]. Over the next two centuries, that would change. Cotton fabrics gained popularity across Europe thanks to colonial exports from the British East India Company. Industrialization provided new uses for the plant in linen and clothing. With soil and climate ideal for growing it, farmers in the American South began slowly testing out cotton agriculture. The invention of the cotton gin in 1793, however, completely transformed the economic potential of cotton. Offering a mechanized way to pick the seed out of cotton at a rate it took someone a year to accomplish, the gin enabled the mass production needed to meet growing demand for the material. It Igave cotton the capacity to become the kingpin of a newly independent American economy, given it had the land and labor to realize it [2][3]. Growing cotton requires a vast amount of land; picking it is an incredibly labor- intensive process. Where would the land and labor necessary to seize the kingly potential of this booming cash crop come from? Indigenous and enslaved people. To ALTR Magazine make room for cotton, Congress passed the Indian Removal Act of 1830, forcibly. displacing the Cherokee, Cree, Chickasaw, Seminole, and Chocktaw nations from their ancestral homelands in the southeastern United States, and siloing them into reservations west of the Mississippi River. Thousands died on this long and genocidal Trail of Tears [2][3].
• Page 79Others fell victim to the demands of the cotton economy. After being picked and cleaned, cotton was woven and dyed into thread at textile mills across New England. As production grew, a new generation of mill managers began taking advantage of economically vulnerable women and children, many of them immigrants, who were willing to work longer hours at lower wages in putrid conditions. The development of commercial sewing machines between the 1830s and 1850s marked the birth of the ready-to-wear garment industry. In response, sweatshops began popping up across slums in the north as industrialists looking for a profit similarly preyed on women and children for cheap labor. Under the oppressive network - with enslaved people cultivating it on stolen land and women and children processing and sewing it - America cornered the global market [5]. By 1861, cotton accounted for over 60% of all North American exports, representing more than 50% of the international cotton market [2] [3]. White farmers, bankers, merchants, millers, and factory owners reaped King Cotton's riches. Consumers benefited from cheaper ready- to-wear garments. All while those enduring the back-breaking work to keep the cogs of the global machine spinning suffered. 1793
• Page 80In 1948, the United Nations declared all forms of slavery and the slave trade illegal worldwide in its Universal Declaration of Human Rights, signaling changing times. However, injustice persists, adapting to human rights progress by taking on less visible forms. As recently as 2022, the International Labour Organization (ILO) estimated that 50 million people worldwide remain trapped ARLIKE
• Page 81Another way to envision the iceberg metaphor is as a tree. Plant a seed, and its roots will grow deep. The sinister nature of the modern garment industry stems from the seeds of slavery, colonialism, and abuse, but we rarely look below the budding canopy of affordable and stylish fabrics. These seeds of injustice continue to grow, manifesting in different places and ways than before. Labor exploitation is still rampant. Deforestation, habitat destruction, and pollution continue at a startling rate. As a root network grows, it twists and turns to avoid obstacles such as rocks. These business practices have not vanished. They have adapted to the times, avoiding environmental, labor, and safety regulation hurdles by finding places to grow underground, places safe from casual onlookers. Instead of avoiding the dark history beneath the comforts of our clothing, we must confront the hidden costs of what we wear head-on, starting with the system that generates them. We can not simply look at what grows above the soil. It's time we grab our shovels and dig to the heart of the problem, so we can identify its cause and begin to uproot it. As unjust systems adapt, we must adapt too. Some have already evolved in response. Passed in 2010, the California Transparency in Supply Chains Act requires manufacturers and sellers to audit their supply chains and publicly disclose commonly camouflaged manufacturing information. For example, do they use a third party to verify, evaluate, and address risks of human trafficking and slavery in their product supply chains? Over the 2010s, Britain, France, Australia, and the U.S. passed similar laws. But laws pass slowly. We must also play our role.
• Page 821 Think critically about the hidden production costs of your clothes. 2
• in experienceALTR Magazine
• the thingsOne of my most prized possessions is the world's-most- mangled pink pillow. It's tattered- malnourished, grayish guts spill out of its several gaping tears across its continuous seam whenever you try to pick it up, move it, or even just rest your head on it. Its color now resembles gray more closely than it does its original baby pink. No matter how many times it has been patched back together, its once-fluffy stuffing (now stringy and hard) always seems to find the light of day. It's flat, ugly, and honestly just plain disgusting my roommate even refused to touch it until I threw its grayish casing in the washing machine. Despite its degradation, the remnants of what used to be a pretty, pink, plump pillow is not a site for antipathy. To me, it's a symbol of childhood, a relic that has been so well- loved only its owner can recall what it resembled in its prime. Whether you can stomach its appearance or not, that piece of cloth has survived two generations, 5 houses, several cross-country roadtrips, college, two dogs, a cat, and a tortoise. That's something admirable.
• Page 85keep Now, as you may know first hand, my pink pillow (which is so lovingly referred to as "comfy pillow" in the inner circle) may not be a great representation of what hand-me-down items typically look like. When we think of the hand-me-down, ill-fitting faded T-Shirts destined to be donned by younger siblings for years to come may tend to come to mind. Depending on where you are in the birth order and what your father's sense of style was in the 80s, you may either love them or hate them. But this is not the universal truth- hand-me-downs can also represent legacy and heritage, and if your great great great grandparents did it right, they do not have to be inherited in the same state as my beloved pillow or your mother's stained college T-Shirt.
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• Page 88Hand-me-downs are all around us. I was able to reach out to my own community and beyond to collect reminiscences of their own special somethings: FROM YOUR PEERS: What is a hand-me-down that you love?
• Page 89grace (left) is wearing hand me down jewelry raveena (right) is wearing hand me down denim WRITTEN & PHOTOGRAPHED: riya khetarpal MODELED: grace nachreiner & raveena khetarpal
• LOVE LETTERSERVICE POSTAL
• Page 91You And so, without realizing it, you started paying attention. Not just to what you wore, but to what clothing could do- to how certain pieces made you feel, how a borrowed jacket could feel like home, how a pair of shoes could change the way you carried yourself. The shift was subtle at first, but it was happening. You were learned that style perfection. It's about play. About expression. About wearing your heart on your sleeve- Sometimes literally.
• Page 92But eventually, you stopped chasing validation. You started dressing for you. Fur hats, wallet chains, layers of rings stacked on your fingers-things no one else in your small high school would have dared to wear. And with every new piece, you felt it more deeply: pretty, cool, unique. Most importantly, you felt like you. High school became your fashion incubator. Pinterest boards sprawled with inspiration, Instagram saved folders filled with runway fantasies. You sent outfit photos to friends, waiting for their verdicts, searching for affirmation in the echoes of their opinions. You dreamed of one day walking the runway yourself-DSQUARED, Maison Margiela, somewhere, anywhere. You wanted to exist in that world, to belong to the kind of beauty that felt untouchable yet somehow within reach.
• W OVE NIN OUR WAR DRO
• Page 94In a world driven by trends and convenience, clothing often becomes a fleeting part of our lives- bought, worn, and discarded in quick succession. Yet, for many of us, certain pieces of clothing transcend their functional purpose, embedding themselves into our personal narratives. These garments carry memories, stories, and emotions woven into their very fabric. In this disposable era, holding onto meaningful clothing is not just an act of sustainability but also a way to root ourselves in our own histories. THE GARMENT AS A VESSEL FOR MEMORY
• FAST FASHION & THE DISPOSABLE WARDROBEAt the heart of the fast fashion industry is the relentless pursuit of newness. It's a cycle that encourages consumers to buy quickly, discard quickly, and repeat endlessly. This disposable mindset undermines the possibility of building a wardrobe full of meaningful, long-lasting garments. Fast fashion's appeal is undeniable: it's affordable, trendy, and offers the thrill of constantly updating your look. However, that excitement fades as quickly as the clothes unravel after just a few washes. The low price tags come with hidden costs-not only to the environment and the people who make these garments but also to our own relationships with our clothing. When we view clothes as temporary, we miss the chance to form deep, emotional bonds with them. We lose the opportunity to strengthen our personal worlds through the fabric of our lives.
• Page 96In a world where clothing is often seen as disposable, choosing to cherish our garments feels like an act of defiance. By mending, upcycling, and investing in pieces that hold meaning, we cultivate wardrobes that reflect our personal journeys. Our clothes become more than just fabric; they evolve into a living archive of memories and experiences. The next time you find yourself tempted by fast fashion, think of the long-term value of a well-loved garment. Resist the pull of disposability, and embrace a mindful approach to your wardrobe. In doing so, you'll not only reduce waste but also build a personal collection of clothing that tells your unique story-one stitch at a time.
• Page 97MASTER BIBLIOGRAPHY several articles in this issue cite academic sources as well as forums, articles, and photographical archives. all citations for those sources included in this issue can be found here, organized by article. Rooted in Weaving
• Page 9810. Textile Exchange - Preferred Fiber & Materials Market Report. Provides industry data and insights on the production, market share, and sustainability performance of preferred fibers and materials. textileexchange.org/portfolio/pfmr/ 11. Fashion Revolution - Transparency Index. Ranks major fashion brands on supply chain transparency and discloses how openly companies share information about social and environmental practices. www.fashionrevolution.org/transparency
• Under the Soil1. Agyeman, Julian, Robert D. Bullard, and Bob Evans. "Joined-up Thinking: Bringing Together Sustainability, Environmental Justice and Equity." Just Sustainabilities: Development in an Unequal World, MIT Press, 2003, pp. 1-18. This chapter connects sustainability, equity, and environmental justice, providing a framework for examining how hidden industrial impacts perpetuate systemic inequalities. 2. Conteh, Gina. "The Wealth of a Nation: How Cotton Industry Slavery in the Deep South Built up the Global Fashion Industry." BET, 29 Aug. 2019. An article tracing the history of cotton production in the U.S., linking slavery and systemic exploitation to the foundations of the modern fashion industry. www.bet.com/article/q7kr68/how-cotton-industry-slavery-built-the-fashion- industry.
• ALTR MAGAZINEVOL IV SEP 2025