If you aren’t familiar with SSENSE, it’s the online epicenter for buying luxury brands and high-end streetwear. Founded by the three Atallah brothers, the goal was to take away the obstacles and headaches that could arise from purchasing high-end fashion and democratize the latest, coolest brands.
More than any other platform right now, SSENSE does curation right. They’re painfully aware of which pieces from new collections are a fit for their audience. They show you what’s relevant and hot right now — prioritizing pieces you’ll genuinely like rather than what’s just being pushed by the brand. Now, SSENSE carries brands of all price points from Adidas to Versace.
Another highlight: SSENSE is known for its brand diversity. They often highlight Black-owned brands and showcase collections from people of color and lesser-known designers. To close out Black History Month 2024, SSENSE is teaming up with none other than ESSENCE: a pairing that makes perfect sense.
ESSENCE, the lifestyle publication geared towards Black women, is helping feature three designers and artists: Bianca Saunders, Mowalola, and Stanley Raffington. The series will showcase their designs and tell their story.
According to SSENSE’s site,
“The two brands are turning ESSENCE’s “In The Studio” print franchise into a video series hosted by Lynette Nylander. The series will spotlight the achievements and creativity of Black designers who have significantly impacted the menswear realm. With three episodes, each featuring a distinguished designer, the series offers exclusive insights into their creative processes and journey,”
Meet The SSENSE X ESSENCE Feature Designers
Bianca Saunders
Bianca Saunders
British GQ
Bianca Saunders’ clothing embraces masculinity in womenswear. Her jackets will always be a bit oversized, or the style will mimic a classic streetwear bomber that could have been borrowed from boys like Jeremy Allen-White and Jacob Elordi — a girl can dream.
“The essence of Saunders' clothing lives in the details, which point to how she subverts ideals often associated with menswear.”
Finding the intersectionality between workwear and streetwear, Saunders clothing is genderless and trendy. Some of her signatures include layered shirts, tucked waists, and somewhat minimalist designs.
@babyboyflame Buying Black: @Bianca Saunders #streetwear #menswear #blackownedbusiness #fashion #fashiontok #fashiontiktok ♬ Oldschool - Cookin Soul
Mowalola
Mowalola
Joyce NG
Mowalola, a highly sought after designer whose pieces have been worn by the likes of Rihanna and Naomi Campbell, is a bit of an icon in the fashion world. Her mantra for fashion is “do what you want to do” and that’s exactly the kind of energy Mowalola’s clothes give off.
Much like Bianca Saunders, Mowalola is known for her gender bending designs. Inspired by cinema, many of her collections revolve around movies. And this is on full display at her cinematic runway shows.
She brings an edge to her designs through textures like leather and intentionally placed cutouts. She’s not afraid to make public commentary on race and gender, making her runway shows incredibly popular.
“The British designer has shifted the cultural zeitgeist with her boundary-pushing collections inspired by the world around her.”
@i_d Replying to @JAC So are we! #ferragamo #maximiliandavis #tiktokfashion #mfw #mowalola ♬ original sound - i-D
Stanley Raffington
Stanley Raffington
ESSENCE
In a world where the Chanel black-and-white aesthetic hails ever-popular, especially amongst those emulating Old Money Style and Sofia Richie’s closet, it’s hard to find designers who aren’t afraid of a bit of color…enter Stanley Raffington.
Often incorporating Rastafarian colors of red, yellow, and black as an ode to his Jamaican roots, Raffington isn’t going to shy away from any hue. He quickly rose into fashion prominency when Madonna and FKA Twigs attended his show, which included 3D printed accessories.
Constantly inspired by his Jamaican roots and the nostalgia of past trends, you will see lots of Y2K nods in Stanley Raffington’s clothing. He’s embraced tech in the fashion world by utilizing 3D printing in many of his designs and runway shows, and he’s not slowing down now.
@yungstanz Process behind my 3d printed curve bag. Taking inspiration from the architecture of Zaha Hadid, mixing new technology with natural materials and craft. Available now exclusively at @SSENSE ♬ Never Lose Me - Flo Milli
A Stain on History, Happening in Real Time: Collective Amnesia and the European Refugee Crisis
The refugee crisis hasn't gone anywhere. But news outlets and political leaders everywhere are ignoring it—and xenophobia is making it worse.
Around 2015, the so-called European refugee crisis was topping every newspaper headline. Reports of the 5.2 million refugees pouring in from Syria and other war-torn countries that year led to mass calls for mobilization to create infrastructure and support systems for displaced peoples. The photo of Alan Kurdi, the drowned three-year-old who provided a name and face to the crisis, sparked international acknowledgment and inspired humanitarian activists all over the world.
Alan Kurdi, via Medium
But that was four years ago. What has happened to those 5.2 million since then?
Firstly, there are a lot more than 5.2 million now. According to the UN, as many as 63.5 million people have had to flee their homes because of conflict since World War II; and today, roughly eight thousand people per month arrive in Greece, Italy, and Spain from Syria, Guinea, Algeria, and neighboring countries. These numbers are staggering; the lives they describe are almost impossible to imagine. But each figure corresponds to individual experience and a body that likely has crossed countless miles of ocean to arrive on European shores. Though it is impossible to generalize their stories, the majority of these people are currently stranded in liminal places like refugee camps or living as undocumented citizens without access to rights, living wages, and other protections.
According to the Aegean Boat Report, around 20 boats have arrived on the Greek island of Lesvos alone in February 2019, carrying a total of 791 people. Lesvos's Moria Camp holds somewhere between eight to ten thousand refugees; it was initially designed to hold ten. Many have been there for over half a decade, and the conditions in the camp are becoming more and more unlivable by the day.
Moria Camp, via Al Jazeera
Many refugees go through hell and back to get there. Left with no choice but to flee violence and unlivable conditions, many spend thousands of dollars on hiring a smuggler who could carry them across the sea. The journey is treacherous—smugglers sometimes have deals with authorities or even pirates, and recent reports have revealed that the journey is more dangerous than ever before, with 1,600 to as many as 2,730 people dying at sea in 2018. The
UNHCR released a report which argued that although the official number of migrants crossing the Mediterranean fell last year, this was likely due to "reductions to search and rescue capacity coupled with an uncoordinated and unpredictable response to disembarkation." This in turn, "led to an increased death rate as people continued to flee their countries due to conflict, human rights violations, persecution, and poverty." As the world forgets, the little structure and safety netting that does exist inevitably falls apart.
The news is a strange beast. Some stories can dominate for months and fade out so suddenly it's almost like they never happened; particularly shocking acts of individual or random violence can consume headlines while systematic, long-term horrors can fade away, having lost their ability to capture audiences' attention. With countries like South Sudan, Yemen, and Afghanistan steadily experiencing mass exoduses for years and years at a time, and with the inundation of tragic stories and gory photographs from Syria, it's easy for ongoing horrors to slip underneath an ocean of facts and figures that seem too overwhelming to address.
It's also easy for governments to shirk off responsibility for taking in refugees, seeing as technically they are stateless and, therefore, are not protected by any citizenship rights. Though the Universal Declaration of Human Rights guarantees basic protections for all people on earth, it does not specify which countries are responsible for providing these protections.
But every political decision manifests in lived experiences. For example, when migrants arrive on the shores of Lesvos, they are sometimes met with volunteers who provide water and transportation to the camps. Families and individuals are assigned at random to tents, which are crammed next to each other, creating unlivable conditions.
Image via aljazeera.com
Lesvos, in particular, has an extensive volunteer population, but overall aid groups often work as band-aids, failing to heal the sources of a larger issue and failing to structure a pathway forward. Instead, aid groups and refugees languish on Lesvos, in the grey area of statelessness and global amnesia. NGOs are gradually shifting their focus to working with refugees and locals to develop long-lasting relationships and skills, which can propel migrants forward into new lives.
But in light of the antipathy many locals hold towards newcomers, and also because of the trauma, language barriers, or other struggles that migrants face, the process of adjustment is challenging and will require individualized attention, patience, and cohesive efforts. Reports reveal that the majority of refugees fleeing severe conflicts will have vestiges of trauma; the IRC reported high levels of depression and PTSD among refugees across the board.
A 2011 Oxford University study found that the best way for refugees to move forward is through integration into life in their new countries. Solutions lie in treating the wound at its source, addressing xenophobia, and fighting for fair opportunities to education, jobs, healthcare, and other vital structural support systems. On the other hand, stranding migrants in places like Lesvos—where they live in unsanitary and dangerous conditions, surrounded by strangers who may also be experiencing trauma, with no idea of if or when they will be able to leave—is a product of a collective worldwide amnesia, a refusal to see what is happening in real time.
Long-term, slow-moving challengers are not foddered for breaking news. Particularly massive floods of refugees might pique the interest of a world leader; an artist might draw attention to the crisis through an installation in a busy city; but always, the cycles of violence and erasure continue as the world gets caught up in shinier, brighter topics. But remembering and acknowledging what is happening is the first step to moving in a new direction.
Image via Oxfam Novib Academy
Eden Arielle Gordon is a writer and musician from New York City.