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Marcelo Gaia on Mirror Palais’ First Pop-Up and Beyond

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Marcelo Gaia on Mirror Palais' First Pop-Up and Beyond

In an age where fast fashion is king and our feeds are constantly over-saturated with a rapidly-changing array of trends, Marcelo Gaia, the owner and lead designer of Mirror Palais, is forging a new path. Since founding the brand in 2019, the New York-based designer has taken social media by storm. After accumulating a large and devoted fanbase that includes the likes of Kendall Jenner, Ariana Grande, Bella Hadid, and Dua Lipa, Gaia has established Mirror Palais as one of the most-coveted labels on the internet.

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Mirror Palais founder and designer Marcelo Gaia

Heido Stanton

However, more than just being a popular social media brand, Mirror Palais stands for something greater than a revolving door of trends and has quickly solidified its own unique position in the fashion world. Made in New York City with deadstock fabrics and fair trade cottons and silks, the label is humanizing the design and construction processes. Operating on a made to order system for its RTW collections, it strives to minimize waste and excess supply at every step.

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Mirror Palais Collection II campaign

Heidi Stanton

mirror palais

Mirror Palais Collection II campaign

Heidi Stanton

Mirror Palais has also proven to be just as thoughtful and distinct in its designs. Inspired by the most influential women in Gaia’s life, the brand celebrates the female form in novel, fun, and enchanting ways, with sizes ranging from XXS to 2X. Some of the label’s most unique and beloved designs include the famed underwire polo tops, sultry lingerie-inspired mini dresses, and Brazilian bikinis embellished with eccentric florals and ‘90s patterns.

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Now, Gaia is bringing the Mirror Palais experience into the real world with the brand’s first pop-up in New York City. Launching on October 22, just in-time for the label’s second anniversary, the brick and mortar will be located at 27 Orchard Street in the Lower East Side and will give shoppers the opportunity to experience the brand’s second collection in-person.

Ahead of the opening, CR spoke with Gaia to reflect on the past, present, and future of Mirror Palais.

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Mirror Palais Collection II campaign

Heidi Stanton

mirror palais

Mirror Palais Collection II campaign

Heidi Stanton

CR: Mirror Palais is arguably the most in-demand small designer brand right now, with a quickly-growing following. With such a high level of popularity, how are you managing producing new garments and designs under such pressure, while still staying true to a small-scale, environmentally conscious image?

MG: I think the biggest thing is that I’m super transparent with my clientele and with my following about everything that’s going on. So, I never feel that I have to promise something that I can’t deliver and even if I do fall short, there’s this understanding that the business is growing during such an unprecedented time. … I have an amazing communications manager who has been with me since I started the company, and she’s taken over communicating with our customers, which is pretty much the most important part of our business because we’re made to order. We make sure that, whoever they are, they know that their order is very important to us and that we’re going to do everything in our power to accommodate them. So, it’s basically that everything I do comes with the client, the Mirror Palais girl in mind and then everything else trickles down from there.

CR: Along the same lines, Mirror Palais has been seen all over Instagram and TikTok, as well as on numerous celebrities including, Dua Lipa, Bella Hadid, and Kylie Jenner. How has this widespread exposure via social media helped the brand, and in what ways, if any, has it harmed it?

MG: I think that some people get it wrong, in that, there’s this idea that celebrities are necessary for implementing a brand into a higher status. With my own experience, I’ve found that not to be the case because, before I had any celebrity wearing my clothes, I was already amassing a strong community and following just based off of the story that we were sharing online. So, with the first celebrity moment, which was Dua Lipa in one of her music videos, it was one of those moments when, anyone who maybe needed that affirmation that we were legitimate because the business was founded on Instagram, was like, “okay, maybe this is someone to take more seriously.” I think it ultimately helped with that sort of endorsement. … Perhaps one of the ways that it might harm our business is that people have a perception of the business being bigger than it is. It’s like “oh, if so-and-so is wearing their clothes, they must be this big corporation,” when, really, when we started it was just me in this little tiny room with a garment rack. We’ve grown, but we’re still a really small team and we have four full-time employees. So, I guess that’s where we are harmed a little bit, with putting unrealistic expectations on us even though we’re still so young.

CR: Wow, only four full time employees? Well, you are clearly making it work.

MG: We are, we are. I’m a really conservative person and I don’t want to make any promises that I can’t keep. So, the idea of bringing people on is like a ship, right? I don’t want to bring on more people that I can feed, or more than the boat can actually handle. So, I’m just trying to find that balance as a business owner, and it is definitely difficult to do creative and business at the same time. But, I have an amazing team that are supporting me in all of those ways.

CR: Considering the saturation of specific trends in the fashion world as a result of social media, how do you go about keeping the Mirror Palais image unique? More specifically, where do you look for inspiration in order to ensure that the brand continues to stand out and have an identity of its own?

MG: I love old films, they’re a huge inspiration for the brand. I think that the Mirror Palais story, the feed, can kind of roll out like a movie story might and I try to capture moments that may not have been used in terms of the imagery. I just trying to capture something that might resonate with someone in a different, less commercial or contrived way; maybe catching those little moments in between the shots. I don’t retouch my images, so I was really careful to not go a traditional route with my imagery. I was really just shooting people who were helping me, my friends in my clothes and we would just go out onto the street and we’d go get a coffee and then I’d take a video that would go viral. And it wasn’t as if I’d set up this big-budget shoot or anything, I was just being in the moment with a friend. I think just trying to deliver more, I know people hate the word “authenticity,” but I guess just trying to show something that you don’t exactly see anymore. Even that has become more popular. I feel like I just try to capture those little in-between moments and that’s what really resonates with our following.

CR: When you’re designing new looks, what sort of individual do you envision? Essentially, what kind of person is the “Mirror Palais” muse?

MG: Initially, I envision my mom and who she is, and especially who she was in her younger years. She grew up in Brazil and moved to the states, and she kept this insane archive of all of her clothes wherever we moved. It was a big source of inspiration and exploration for me as a young gay man. I would go into her closet and secretly try her clothes on. I got this intimate sense of what it felt like to be a woman. I’ve just been surrounded by women by whole life: I was raised by my mom and older sister and in grade, middle, and high school I only had female friends. I also only really have close female friends now. So, I think that I exist in the world as a cis-man, but my point of view is very much female. In a way, I think I am just trying to create what I think the women in my life would like to find in a thrift or vintage store. I did a lot of thrifting when I was younger because we didn’t have a lot of money. So, that was how I created my fashion identity: through my mom’s stuff and going to thrift stores. The idea of finding that one thing that stands out and getting super excited about it is the moment that I’m trying to recreate with my store and with my designs.

CR: This week, you are opening your first pop-up for the brand in New York. What does this mean to you as a New Yorker to be able to open a brick and mortar in your home city?

MG: I never thought that it would ever be something that was possible for me. It’s amazing that I’m getting to do what I love the most, which is getting to go shopping with my friends. I feel like all of my customers and all of my followers are like my friends and they are going to be coming by and we’re going to be playing dress-up! And I hope that people are going to be able to find something that they really love. I feel really hopeful that the experience in-person will be even greater than the experience online and I’m really excited. It still hasn’t really hit me yet. I was having a meeting with Susan Alexander right before this, who is also opening her first store. I’m 27 Orchard St and she’s 33 Orchard St. And then across the street is Sandy Lee Yang. So, I feel like there this is the new wave in New York fashion and I’m hoping that I can connect with as many people as possible to determine how we can do things differently than the people who came before us.

CR: What can shoppers expect from the Mirror Palais pop-up with regard to its aesthetic, design, and overall vibe?

MG: It’s a very clean layout. It’s a white box gallery space at the Larrie gallery, so, it’s just going to be super clean and there are going to be little Mirror Palais touches here and there. There’s just going to be a lot of playing and the clothes themselves are really going to contrast with that stark white, which I think will be really fun. I feel like you’re going to get the chance to experience the brand in-person, which is basically us, my team, us girls hyping each other up. Basically, that’s what happens in our office every day when we get new samples and everyone in the office tries everything on. And we’re going to be debuting our new campaign by Heidi [Stanton] on Thursday [October 22nd]. We did this really cool images that I have been kind of hoarding, just waiting for the right moment to release. So, we’re going to do those in-conjunction with some wheatpastes around the city. We’re going to be all over downtown for a little bit, which I’m excited to do.

CR: Considering this pop-up is a huge milestone in the brand’s trajectory, what’s your next goal or milestone for Mirror Palais after opening a physical space?

MG: My long-term goal would be to create a space where people can come to create a customized wardrobe with our shapes. At the turn of the century, when designers started opening their ateliers, especially in Paris, the made-to-measure movement with high-end designers was something that seemed really cool and is something that I don’t think most of us have access to. So, I would love to create a space where people can come by, see the shapes, and try-on the different sizes that we have. We carry XXS to 2XL, so we would have someone to measure you and create a really intentional experience with your wardrobe acquisition, so everything that you’re putting into your closet is made for you and has a really special memory attached to it. Hopefully, that will make you want to hold on to it forever and ultimately, create less waste, which is something that is important to me and should be important to every designer right now. It’s about how we can be more conscious about what we’re putting out into the world and I think that, if you’re really in-love with your clothes, then you treat them better and they won’t end up in a landfill.

Fashion

The young designers shattering stereotypes around Indian fashion

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The young designers shattering stereotypes around Indian fashion

In a country of 1.3 billion, diversity in dress is a given. Still, perceptions of Indian fashion — both within and beyond the country’s borders — remain bound by stale visions of saris in blinding hues, traditional clothing and elephant, peacock and tiger motifs. These lazy assumptions are compounded by the fact that some of the largest players in the luxury fashion industry quietly contract thousands of the country’s artisans to embroider eyewateringly-expensive products in factories that fail to meet basic safety standards, as reported by GFN. And while outside of India, members of the diaspora such as Supriya Lele, Kaushik Velendra, Priya Ahluwalia, and Ashish Gupta are among the names known for helping to dismantle stereotypes attached to ‘Indian dress’, it’s time for the fashion world to acknowledge the young, India-based designers doing so, too.

These non-conformist minds deliberately refrain from dipping their feet into the nation’s lucrative $50 billion wedding market (in India nuptials are typically extravagant affairs spread over multiple days, and the quest for the perfect bridal outfit stokes high demand for full-time couturiers). By refusing to jump on the bandwagon and taking the path less trodden, the designers behind AKHL Studio, Bloni, Bodice and Aroka are consciously bypassing staid exoticist perceptions of India to celebrate how far we’ve come. Rooted in tradition but not restricted by it, their clothes are proudly ‘Made in India’ but globally relevant.

A model wearing a look by AKHL Studio

Image courtesy of AKHL Studio

A model wearing a look by AKHL Studio

Image courtesy of AKHL Studio

A model wearing a look by AKHL Studio

Image courtesy of AKHL Studio

AKHL Studio

“We need to stop turning our craft into clichés just because we feel like the West will lap it up”, is Akhil Nagpal’s immediate response when asked to explain the premise of his Delhi-based avant-garde label. At first glance, AKHL Studio’s iridescent, sculptural silhouettes may not seem like an average Indian fashion consumer’s cup of chai (tea), but that’s precisely the point – the CSM alum’s driving motivation is to rewrite the narrative of what the global fashion community expects from the country’s fashion designers; to “push the envelope with what can be achieved with the Indian hand”.

With its metallic tulle dresses spliced with vivid lurex tapes, gradient-dyed silk organza tops and robust bustiers embellished with hand-embroidered glass yarn fringes, AKHL Studio’s latest collection, ‘Reflektor’, embodies this vision. A clue for what makes the collection so appealing is right there in its title. “The key garments in this collection have first been handwoven on the loom and then interlaced with upcycled yarn to achieve interesting shapes. Some of the biodegradable materials used such as thermoplastic polyurethane are light-sensitive and thus the title Reflektor seemed apt”, Akhil reveals.

A model wearing a look by AKHL Studio

Image courtesy of AKHL Studio

The designer’s desire to create multidimensional pieces of wearable art was further consolidated by the support of his atelier, a group of weavers and artisans from villages across India, who shared a similar zeal for delivering the unexpected. “Our artisans can execute modern patterns and styles, however, it’s up to designers to push them in that direction and lead the way in contemporising Indian craft”, he says. What makes his practice yet more impressive is that he’s able to do that without succumbing to the “hamster wheel” of the seasonal fashion calendar. Instead, Akhil has opted to preserve the value of slow, ethical Indian craft which his tight-knit community cherishes. An important guiding principle for the designer is “creating something new and letting it find its people”, he notes.  It’s safe to say that AKHL Studio found theirs.

A model wearing a vinly outfit from Bloni

Image courtesy of Bloni

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Bloni

While boys his age spent their days playing gully (street) cricket and football, Akshat Bansal pored over yards and yards of intricately printed fabrics in the back of his father’s sari store. He wasn’t just a mesmerised kid in a sartorial candy shop, however. Instead, the interest in textiles he demonstrated back then was an indication of things to come.

After completing a formal fashion education at National Institute of Fashion Technology (NIFT), Mumbai, before heading on to Central Saint Martins, he then landed a coveted apprenticeship at Cad & the Dandy on Savile Row. It was there that he received a year-long fastidious schooling in tailoring, learning to appreciate the importance of consistency, discipline and the accuracy of every stitch. Akshat then flew back to India only to realise the absence of homegrown brands catering to something other than the country’s booming wedding and occasion-wear market.

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And so, in Delhi in 2017, Bloni was born – a demi-couture brand that questions fashion’s norms through free-spirited storytelling and futuristic, genderless designs. “It’s all about cross-pollination and fluidity right now. Thanks to social media, we are all hybrids of sorts who aren’t limited by borders – our wardrobe needs to reflect that too,” Akshat says. A quick look at the brand’s previous collections – think jet black leather finished satin saris, flouncy skirts, fun tie-and-dye and cutout bodysuits made with nylon from ocean waste –is all it takes to confirm that.

If you’re after further proof of the brand’s sustainability credentials, step into Bloni’s flagship store in Delhi’s Dhan Mill compound. While you’ll find plenty of peppy clothing on the rails, these aren’t pieces you can pick up at whim. Be it their fluorescent tie-dye overcoats (hand-dyed by Akshat himself) or sequinned hoodie dresses, every garment is made-to-measure, and fitted to the body like a second skin. “I think the future of fashion comes down to this – if it’s more personal, it’s more sustainable,” he says. “If it feels special to you, then you want to cherish it regardless of the trend cycle.”

A model wearing an outfit by Bodice

Image courtesy of Bodice

A model wearing an outfit by Bodice

Image courtesy of Bodice

Bodice

“If I knew as much as I know today, there’s no chance I would have started Bodice back in 2011. It takes a certain naivety to plunge into a completely new space”, Delhi-based designer Ruchika Sachdeva admits. With the aim of challenging externally imposed distinctions between Indian and Western fashion, the London College of Fashion alum drew up the blueprint for her textile-driven contemporary label within a year of graduating. This line of thought may not be perceived as radical today, but it certainly was 10 years ago when Ruchika arrived back home to find a lack of options that celebrated India’s wealth of craftsmanship without succumbing to conventions of flamboyance, colours and bling galore.

Armed with enthusiasm for offering minimalist ensembles for the modern Indian woman, Ruchika built Bodice to highlight the nuances of Indian fashion that often get buried beneath all the glitz. “It might look pared down on the outside, but there’s so much going on inside – the seams, the cut and the fall need to come together perfectly so that a dress is tucked in just the right places and highlights a woman’s curves”, she says.

Just as crucial to Ruchika as the construction of her garments is minimising the environmental impact involved in making them and forming long-lasting relationships with artisans in different corners of the country. Bodice’s garments are made exclusively using locally procured natural fibres such as recycled cotton from Kolkata, silk and wool directly sourced from Bhutti weavers in the Kullu region of Himachal Pradesh, all in a bid to support India’s fibre producers. “Being in Delhi, the air you breathe is a constant reminder of the fact that you’ve got to be conscious and do your bit – if not now, then when?”, Ruchika says. Keeping in mind that India’s capital tops the list in having the worst air quality in the world and recently went into lockdown, not because of coronavirus, but because of the toxic smog that engulfed the city – it’s imperative for brands, now more than ever, to be mindful about the environment.

A model wearing an outfit by Bodice

Image courtesy of Bodice

Apart from having a strong focus on sustainability and versatility, there’s another defining feature of Bodice’s trans-seasonal apparel – pleats. Giving fluid silhouettes a “powerful” structure, she says, her yen for the technique was a reactionary result to her daily environment. “Being born and brought up in India, I’m used to an overload of sensory experiences; there’s a million things happening and it’s so chaotic. Sometimes I think my love for pleating stems as an innate response to that, almost like a need to streamline things and indulge in some sort of repetitive practice.”

Despite it being a time-consuming technique that requires mathematical precision, Ruchika relishes the challenge. What helps? Visualising the woman she designs for: “I like the fact that my customer is me – in her early 30s, independent and finally able to put her foot down. At Bodice, we are always striving to help this woman occupy space quietly but with a steadfast attitude. I believe that clothes are the first conversation you have with anybody without even opening your mouth; it’s a form of art that’s the closest to your body”, she says. Who knew pleats could be the new pillar of power-dressing?

A model wearing an outfit by Aroka

Image courtesy of Aroka

A model wearing an outfit by Aroka

Image courtesy of Aroka

A model wearing an outfit by Aroka

Image courtesy of Aroka

Aroka

Āroka’s (a Sanskrit word that translates to light shining through woven threads) debut collection of vibrant pieces interspersed with traditional silhouettes like the lehenga and sari played it safe and won hearts.  However, it wasn’t close to the paradigm shift that its co-founders Karan Ahuja and Shweta Aggarwal wanted to accomplish. The duo yearned to cut through the existing noise and experiment with Indian textiles to present them in a globally relevant light. Despite the looming risk of losing its existing customer base and entering uncharted territory, they decided to push ahead with a complete revamp of Āroka’s design philosophy in 2019.

“I enjoy challenging the usual use of local fabrics. For example, we have re-introduced handwoven muslin with ruching techniques to create slinky halter necks and crop tops. India is well-known for its khadi (handloom cotton), but I give it a textural treatment by incorporating raw, frayed edges”, says Shweta, an Instituto Marangoni graduate who is also Āroka’s creative director. The Mumbai-based label’s repository now consists of understated jewel-toned slip dresses, funky asymmetrical outerwear they tag as ‘half and half jackets’, sultry bandeau tops and easy-breezy kaftans that gained a cult following which continued to grow even during the pandemic.

A model wearing an outfit by Aroka

Image courtesy of Aroka

Shedding light on social issues that plague today’s society is the foundation upon which they built their proposal. Inducing conversations around sustainability, fair trade and mental health, where Āroka’s garments do all the talking, is pivotal to its DNA. Notice the subtle yet hopeful messaging embroidered onto the sleeves of its linen tops, belts and bomber jackets such as ‘This too shall pass’, ‘Still, I rise’, and ‘It’s okay to not be okay’.

When the nation was hit by a devastating second wave of the pandemic in April earlier this year, Āroka launched ‘Quote Your Price’, an initiative to recognize the unwavering efforts of its artisanal community. “Our karigars (artisans) can create something no one else can anywhere in the world. Yet, most of them are severely underpaid, exploited by middlemen and subjected to unethical working conditions – even more so during the pandemic. Through this initiative, we wanted consumers to become conscious of the handiwork and attention to detail our artisans pour into the making of each garment and then quote the amount they wished to pay for the same”, the duo explains. Proceeds from those sales were donated to Dastkar – a non-profit organization supporting Indian craftspeople.

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Ducks: the future of the fashion industry

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Ducks: the future of the fashion industry

A typical day in the life of UO sophomore Christopher Kiyota consists of checking his Instagram direct messages for new orders to his sneaker resale business, going through his inventory list and making a trip to the post office for new shipments — all between classes and study sessions. This is the ordinary routine of a young college business owner living out his dream with ambitions of taking his passion to new heights.

Running and managing a business is no easy feat as a full-time college student, but these four UO students have channeled their love for fashion into self-made brands and career ventures. They each hope to express their creativity and inspire others by making an impact on the world through their own fashion outlet.

The vintage connoisseur: Alexandra Webster

@approachvintage

When the COVID-19 pandemic hit and UO’s track season was cancelled, student athlete Alexandra Webster had a lot of free time on her hands. Already known by friends and family for her unique curation of vintage outfits, she started developing her skill for thrifting and personal styling.

“I started to get motivated because you don’t have anything else to do,” Webster said. “I started getting into fashion and clothing to try to keep myself busy.”

Noticing her newfound interest in fashion and thrifting, her mom suggested the idea of turning what was a quarantine hobby into a monetary opportunity by opening her own store. With thrifting rising in popularity amid the pandemic, Webster realized her knack for hand selecting thrifted items could become her own business that could help others with their style too.






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Alexa talks about how she eventually wants to bringing Approach Vintage online one day. Students with style: UO students discuss their fashion businesses and why they got started. (Ali Watson/Emerald)


She took the leap and opened up her own clothing store: Approach Vintage.

A resale store of unique vintage pieces and popular trendy items, Approach Vintage is located at The Woodlands Mall in her hometown of Houston, Texas, serving as a way to share her love of fashion with others. The store offers all kinds of original pieces, such as oversized jeans, bomber jackets, graphic tees, bucket hats and more. In the nearly two years since the start of her business, Webster has already seen massive success and growth, reaching six figures in sales within her first year of opening the store, she said.

Webster described how truly blessed she was to have that opportunity fall in her lap and be able to get her vintage store started right down the street from where she lived.

“People have been so supportive,” Webster said. “All my friends are always walking by, showing me when they’re at the store; they’ll take a photo and tell me that they’re there. It’s amazing.”

As a new small business owner, it can be difficult to promote your business and gain a wider customer base. Starting out, Approach Vintage was no exception to those challenges.

“The hardest thing was getting my name out there, because I’ve never really known what to do with marketing and promoting myself and a small business that just started out,” Webster said. “But once people started hearing about it, I saw that people love it, and they’re posting about it.”

In the future, Webster wants to expand her brand and branch out into other lines and chains under the same name, broadening her product line as well as her customer base. She plans to start Approach Athletics, a new business with a focus on athletic wear, in the near future.

“I like the idea of not being afraid to do something,” Webster said. “Life’s pretty short, so just do it.”

The ultimate sneaker plug: Christopher Kiyota

@whasiankicks

Christopher Kiyota started out with $180 in his pocket and one pair of used shoes to scrub, clean and resell. Then, one pair turned into two. With consistency, dedication and curiosity about the sneaker resale business, the UO sophomore built his business, WhasianKicks, from the ground up, figuring out how to run and manage a reselling business all on his own.

“I feel like for once I was able to get out of my comfort zone and challenge myself,” Kiyota said. “Growing up in San Diego, you don’t really see a lot of opportunities to grow as something different than just a student or an athlete.”






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Christopher built his successful business all on his own from the ground up. Students with style: UO students discuss their fashion businesses and why they got started. (Photo courtesy of Christopher Kiyota)


In the fashion world, nothing can quite compare to the competitive demand and almost religious reverence some people have for sneakers. Entrepreneurs like Kiyota have taken advantage of the thriving culture of sneaker reselling, which allows sneakerheads to make a profit from buying and reselling high-demand or rare sneakers.

With over 18,000 followers on Instagram, Kiyota has taken his love for sneakers to new heights by becoming an in-demand sneaker reseller and supplier in Eugene. Drawing in hundreds of customers per day through his social media, Kiyota said he has sold sneakers to countless customers, including fellow UO students and some major names and athletes as well, such as Deebo Samuel and Noah Beck.

His sneakers are kept in a storage unit where customers can set up a reservation to shop in person, but high customer demand can make it overwhelming to manage, he said.

“As it got bigger and bigger, it started to get harder to maintain these people,” Kiyota said. “When you’re getting 120 DM requests per day about shopping, you get so flooded.”

Kiyota plans to open a storefront for WhasianKicks in the downtown Eugene area by January so he can reach more people and provide better customer service.

“I want to have an optimistic influence on people and make sure I create an atmosphere surrounding my business of happiness and memories,” Kiyota said. “Just something along the lines of you’re going to remember it for years to come. It’s not going to be like you remember my name just because of the shoes I sold you, but you remember it because of how it made you feel.”

The bling buff: Emily Roberts

BlackCatsSparkle on etsy

Emily Roberts grew up in the tiny town of Big Bear, California, and spent most of her life there. She moved up to Oregon during the peak of the pandemic, which was a somewhat difficult experience, she said. She had a hard time finding a job in the midst of the coronavirus pandemic as well as making friends during a completely remote first year at the university. Soon enough, Roberts began making jewelry.

She decided to make some earrings with her friend one day for her birthday, and that friend was quick to suggest Roberts start her own Etsy shop with original jewelry pieces. Despite the immediate support for this potential small business venture, she was originally skeptical of the idea.






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Emily has been making artistic pieces since a young age. Students with style: UO students discuss their fashion businesses and why they got started.(Photo courtesy of Emily Roberts.)


“Slowly over time, my family and my friends here and everyone I knew were basically pressuring me to open an Etsy, and I was just like ‘It’s not going to do well guys,’” Roberts said. “But I opened it anyway, and it’s been doing better than I thought.”

Pursuing creative projects and making artsy pieces since she was young, the UO sophomore has used her artistic roots to create her own small business of handcrafted crystal jewelry. She primarily sells her pieces from her online shop on Etsy, BlackCatsSparkle, but also recently began setting up her own stand to sell her creations in person in Salem.

Crafting everything from earrings and bracelets to necklaces and even wreaths, she has seen success with her business in the UO community. She caters to students with fun crystal, skull and mushroom designs, keeps prices inexpensive and delivers to local customers. She has even reached beyond her Etsy shop and sold some of her pieces in the Halicuna Bay Mall in Salem, selling over $60 worth of products on her first day.

“I just really love seeing people wearing my product,” Roberts said. “I adore seeing people around campus and my friends wearing my stuff in their photos. It’s just really rewarding and makes me really happy.”

Her goal is to inspire students and all people to shop locally and from small businesses, a more sustainable, cheaper option that supports good people with good causes.

“If I can make jewelry forever as like a secondary job, that would be fantastic,” Roberts said. “It’s really nice to have that creative outlet; it’s something I can see myself doing for a long time.”

The game day aficionado: Noah Gould

@boxenautzen

A typical Oregon Duck football game is electrified with the energy of thousands of die-hard Duck fans. If you’ve been to a home game recently, especially in the student section, you might have noticed the word Autzen in a green, Supreme-like box logo plastered on the shirts, hoodies and beanies of many students and other fans. If so, you have witnessed the work of UO 2019 graduate Noah Gould and his revitalized game day clothing brand BoxenAutzen.

With a focus on providing gear for football games, Gould was inspired to create his brand when he noticed the large price margin of common game day gear while studying abroad in Italy in the fall of 2017. Being the first time he had interacted with game day outside of Eugene, he had an epiphany.

“Something I noticed quickly was that everyone was wearing the same things,” Gould said. “It was pretty much Nike jerseys and a couple beat tees sprinkled here and there. You’re looking at a beat tee, which they’re giving out for free, and you look at a Nike jersey and they retail for $150.”

Gould realized the majority of game day attire fell on either end of this cost spectrum with no real middle ground. That was the moment he was inspired to fill this gap.

After his time in Italy, his newfound inspiration led him to design some shirts intended to only be worn by his friends. Through the fall of 2018, the orders simply kept coming in, eventually passing 500, Gould said. It was not long before he received backlash from the university’s brand management, claiming he was making a profit by infringing on their word: Autzen. By early 2019, Gould said he received a cease and desist letter from the university to stop his business, and he did.






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Noah Gould, a UO graduate, sports gameday apparel from his Autzen-inspired clothing brand, BoxenAutzen. Students with style: UO students discuss their fashion businesses and why they got started. (Photo courtesy of Henry Ammann)


With a dwindling sense of spirit for the university amid this legal turmoil, he eventually connected with a local manufacturer that had an existing pipeline to get products licensed and to work directly with the university.

“I figured out a way to get my products through this licensing funnel where I can sell products and the university can make royalties off of them,” Gould said.

By the middle of 2020, he finally had UO’s support to sell his product and was receiving sales orders from the Duck Store. Designing from his home in Los Angeles with his production and shipping teams based in Eugene, his business came back in full swing, and Gould has been amazed by the success he’s seen for this season.

“Going into Autzen the night of Nov. 13, I was blown away at how much BoxenAutzen I saw around the stadium,” Gould said. “It’s really rewarding to see it where it’s supposed to be seen — in its natural habitat on a Saturday.”

With plans to grow the business and reach beyond a football focus and branch out into gear for all sports all year round, Gould said he wants his brand to be something that will stick around in five to 10 years. Being immersed in such a large market of Duck fans pouring in year after year motivates him to want to make a bigger impact on UO culture and future generations to come.

“I want to share my love for the Ducks with the world,” Gould said. “I want to make you feel or at least remember what it was to be a student and to be in Autzen with all your best friends on a Saturday.”

A creative spirit, a consistent dedication and a passion for their craft is what set these students apart as individuals who have been making waves in their community and establishing their mark on the world one sale at a time.

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Serena Williams’ transformation from tennis champ to fashion icon

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Serena Williams' transformation from tennis champ to fashion icon


5:10am PST, Nov 18, 2021

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