Accessories Assemble

*Corset:* *Dopl World* *Sarong:* *Gisessories*

Let’s face it—the ebb and flow of fashion’s trend cycle is repetitive. When it comes to the eternally expanding universe of accessories, we’re bound to come across strikingly similar reiterations, no matter how revolutionizing they debuted on the runway or in the pages of a magazine.

Consider D&G Spring/Summer 2002 or Galliano Spring/Summer 1996 where models adorned in leg warmers, ribbon, tulle, and tights strutted down the runway. Now re-popularized by Miu Miu’s explosive ballet flats or downtown darling Sandy Liang’s dainty satin bows, balletcore is all the rage. Similarly, both Balenciaga and Gucci revitalized the Adidas craze during their respective shows in 2022, giving rise to the Samba-wearing Bella bots now strewn all about our Pinterest boards.

Maybe Miranda Priestly’s bone-chilling monologue—wherein she bashes a naïve Anne Hathaway about her cerulean sweater—still rings true for accessories today; everything is filtered down to the consumers, leaving our eyes begging for something novel. However, in a new year where silverware is stitched onto garments, animals prowl down the runway, and denim haphazardly sheathes purses, up and coming brands and smaller creators alike are pushing the accessory envelope by giving masterclasses on how any item (seriously, any item) can unconventionally elevate your look.

At the helm of this phenomenon is TikToker Eros Ana Orion. For her, tech gadgets are more than just little metal devices created to make our lives easier—they’re statement necklaces made from Airpods, space bun accents from wire headphones, sunglasses from literal bluetooth glasses. She attributes her technology fascination-turned-accessorizing back to her natural curiosity with tech’s progressive essence in the pop culture realm, specifically citing the 1990’s Afro-futurism era. Innovative artists such as Patrick Kelly and Mariko Mori also influenced her jewelry-transcending accessorizing abilities, and the way in which she perceives tech products themselves.

“When it stops being a tech product it can be a necklace, it can be a belt, it can be whatever, so to me that feels more sustainable,” said Orion. “If we push the bounds of what we consider stylish and fashionable, we open up this new realm of accessorizing and technology.”

Antithetical takes on accessorizing outfits, such as Orion’s distinctively technological flair, draw our attention to the untapped creativity of lesser known subcultures and away from beaten-to-the-ground aesthetics. After all, the past decade has been nothing short of ‘core-this’ and ‘core-that’. Hiking backpacks in gorpcore, lacy socks in cottagecore, jester hats in clowncore, tiaras in royalcore—the world of accessories is no stranger to even the most obscure of aesthetics, yet somehow, we’ve seen it all. In a chronically online, microtrend obsessed world, it’s up to creative pioneers like Orion to redefine the objects we’d typically call accessories.

The shift away from microtrends and into a world where unseen accessories run amok has seized designers on the runway too. Dilara Findikoglu is a Turkish-British designer who’s deconstructed, avant-garde looks often incorporate atypical accessories like skulls, snakes, feathers, or even human hair. Often historically or culturally inspired, each look flaunts ornate, handcrafted details such as beading, embroidery, and lacework that set a hauntingly beautiful scene.

*Outfit:* *Clara Swagel* *Glasses:* *Haunted Morgan*

Findikoglu’s Fall/Winter 2023 collection, shown during London Fashion Week, lived up to her provocative standards. Titled “Not a Man’s Territory”, each look is ripe with female anger towards a historically debilitating society. Exaggerated hourglass shapes are constructed from ripped up mesh and hanging fabric, but are intentionally held together by accessories like safety pins, large metal hair clips, or dangling silver chains. One look in particular features a model swathed in utensils that clinked and clanged down the runway.

“There’s always this conversation about a woman’s body: how it should look, what we should wear, what jobs we should do. I can’t express how angry this makes me,” said Findikoglu to AnOther Magazine.

As Findikoglu demonstrates, there exists an element of intellectual beauty behind bizarre accessories. Like stylish encyclopedias, accessories provide deeper, sartorial commentary that garments alone cannot. Perhaps that’s the missing element in today’s accessory trend cycle: a swift transition from obvious, microtrend embellishments and into cultural, historical references. Accessories like Orion’s technology infused jewelry or Findikoglu’s unorthodox adornments force us to read up on their lore, then appreciate each creator’s ability to integrate such niche, culture defining objects into fashion.

Integrating lore-ridden accessories into everyday looks is an all too familiar concept to stylist Natalie Smithson, as seen in her Instagram styling account @styledbykatnat. Since 2018, Smithson has created outfits composed of sacred, archival pieces and accessories that go unseen to the untrained fashion eye. Upon closer inspection however, one might notice her genius use of highly coveted accessories such as a late 80s Thierry Mugler bracelet set, 2009 Isabel Marant sneaker wedges, or Comme des Garçons spring 2005 leather ballet flats.

“Archival pieces have a story behind them about the time they were released. Plus you have to search hard for certain items from seasons, and not a lot of people can own them, so it feels special,” said Smithson. “It’s better to use archival accessories in styling gigs because they are one of a kind and can easily elevate an outfit.”

So perhaps it’s time to say farewell to all your chunky jewelry. Bid adieu to your ribbons, charm bracelets, and stacked rings. Lay them to rest, but watch as they reincarnate into Orion’s tech jewelry, Findikoglu’s signature safety pins, Smithson’s immortal pieces, or better yet, your own revolutionary integration of untraditional objects into your accessory rotation.