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experience, Graham decided to start designing her own collections that addressed the different body types and stylistic needs of trans women. Her self-made fashion brand recycles materials and repurposes found items to construct a collective line. Graham's production process heavily involves the women for whom the clothing is being made; she consults with them on which features they want accentuated and then works to deliver a piece that best fits these criteria. She explains "some people care more than others about how they need to be presented in shows and I take that into account when putting everything together." Graham illuminates the importance of self-representation by
48:. Graham's work ethos has attracted a following of trans women who have formed a community of support for one another. She explains of her brand, "the evolution of my identity as a trans woman is reflected in the evolution of the collection; sometimes rigid, sometimes fluid, sometimes stagnant, sometimes dynamic." In addition to creating apparel accommodating the specific needs of trans women, Graham is also a committed advocate for the socio-political issues transgender women face in society today.
137:, and has completed five full-length collections. She has since evolved the purpose of her work; she now advocates for financial support from the fashion industry to empower the trans women involved and to ensure the longevity of the movement. Graham says, "having fashion shows gives me an opportunity to pay models," which she believes provides personal agency within the industry. Mars Hobrecker and Leah James explain how transgender models "have become a hot topic in recent years thanks to
303:, who noted the power of seeing something by and for trans women.” Critics have praised Graham’s for her catering to individual identity and atypical approach to fashion that focuses on the model’s needs. Jillian Billard states “the garments appear to fuse naturally with each model’s personality and beauty.” Christina Di Biase notes of Graham’s designs that they reflect her awareness of “the power of attention, which can ignite conversation and visibility.”
214:, the models walked the runway in torn, blood-drenched clothing which called attention to the high fatality rate and recurring violence experienced by the trans community. The nature of the show was made deliberately claustrophobic and uncomfortable to represent the vulnerability trans women feel when navigating through a potentially threatening society.
157:." Graham believes financial compensation for the trans models involved in campaigns such as these will hinder mainstream fashion lines from exploiting the community in order to gain recognition and popularity. Still continuing to produce only one-of-a-kind pieces, Graham has not enabled factory production or begun work on
187:, which she references through their dramatic visuals and hyper-saturated hues. Additionally, she addresses the multilayered oppression that is persistent in today’s society for trans women, particularly trans women of color. With this being the recurring message of her designs, Graham attempts to reduce the
269:
who also identify as trans women, and encourages everyone to work as a collective on aspects of the show. She explains of this approach, "I only use trans models because trans aesthetic can only be expressed authentically by trans people." This a recurring theme in most of Graham’s work; community is
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New York "was in itself a love letter to trans sisterhood," with Graham bringing together a multitude of trans women to work in coherence on the show. The visuals emulated as 'un-done' look which was done with "arms, fingers and ensembles, still wet from being painted crimson by Glossy, Kaidon Ho and
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to center herself within the hub of the fashion world. Her move into fashion was motivated by the lack of inclusivity she experienced herself as a trans woman when trying to find clothing that suited her body shape. She explains how trans women "don't have options in fashion," because of the clothing
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as well. Graham's designs and production process involve the designer, model and consumer in a relationship that seeks to mutually empower. She explains, "my designs are developed with the trans femmes I dress in mind, so their individual presences permeate the designs and become inextricably linked
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Graham designs individualized clothing specifically formed to a particular model’s body and persona. As she describes, “I cast before I create the looks, so I’ll be thinking about all the girls individually and send them photos of inspiration or looks in progress." Her work tends to be informal and
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Models working within the industry have voiced appreciation for Graham's inclusive vision and individualized approach to fashion. Model Devan Diaz says that, "when the show was over, I felt as though I gained new tools of protection that I could take into the world." Graham’s AW16 show “moved more
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sense. She found materials in unconventional places such as thrift shops and hardware stores, and pulled together scraps of material- most notably tuna fish cans- in an attempt to distort and reconfigure the concept of a runway show. Devan Diaz, a woman who has modeled in Graham's shows, notes how
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that she believes is persistent in the fashion industry. She explains, “I can only hope that my own identity and skills can be used as tools to help relay the urgency of that message.” Graham’s thoughts on identity politics shape a majority of her work, namely her stylistic choices and messages
105:
style. At the same time, she "started making designs for photography projects with her friend and collaborator Serena Jara." Stephanie
Eckardt states "though she started out making more traditional womenswear, Graham refocused when she came out as trans herself." Once she had enough industry
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that sometimes results in acts of aggression and violence, particularly for trans people of color. She experiences this herself as she explains, "I officially identify as mixed race...I do have
Japanese ancestry." She recognizes that “for trans women of color, they have to deal with
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stereotype which poses Asian women as “strong and deceitful”. Graham attempted to tackle stereotypes both literally and figuratively by deconstructing traditional menswear and repurposing it in order to reflect the message of her show. She addressed
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of mainstream fashion. Jillian
Billard notes of Graham's designs "there is this running theme that seems to be led by a fascination with deconstruction, printed patterns and texture." Stylistically, she has been inspired by games such as
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that sees the movement as one that will serve its purpose and fade into the background. She instead rallies for its right to a legitimate place in the future of fashion. Addressing cultural issues such as feminine
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valued highly and Graham seeks to empower trans women by giving them a platform for creativity and self-expression. In pursuit of this project, Graham has included the likes of other models and artists including
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In Graham's NYFW Spring 2017 show "the looks were feminine and sensual, with contrasting details such as the use of black, wire detailing, and the chokers many models wore with delicate lace pieces."
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community heavily influence her political views and have inspired her to lobby for change. Graham is an advocate against the ongoing
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Graham's most recent collection is her AW18 show titled "Vicky's Secret" and features an exploration of polka-dot patterns.
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performance that appear to be focal points for...westerners." As with most of her shows, Graham constructed this one in a
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44:. She has since branched out to create her own collections and has had two collections shown at
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1291:"Gogo Graham Confronts, Crushes Stereotypes in Lower East Side 'Dragon Lady' Exhibition"
1213:"Gogo Graham Confronts, Crushes Stereotypes in Lower East Side 'Dragon Lady' Exhibition"
1187:"Gogo Graham Confronts, Crushes Stereotypes in Lower East Side 'Dragon Lady' Exhibition"
1130:"Gogo Graham Confronts, Crushes Stereotypes in Lower East Side 'Dragon Lady' Exhibition"
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68:, which sparked the beginning of her career in design. Upon graduation, Graham moved to
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1585:"Gogo Graham Calls Attention to Trans Violence with Final Girl-Inspired Collection"
1156:"Gogo Graham Calls Attention to Trans Violence with Final Girl-Inspired Collection"
976:"Gogo Graham Calls Attention to Trans Violence with Final Girl-Inspired Collection"
893:"Gogo Graham Calls Attention to Trans Violence With Final-Girl Inspired Collection"
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that assist in the exotification of Asian women. The show addressed the derogatory
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Her AW16 show featured a confronting nature and nuanced style that referenced the “
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no matter which way you spin it." In addition to fashion design, Graham is also a
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often felt by many trans women who struggle with self-image and identification.
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woman who designs clothing specifically catered to trans women. Originally from
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Regarding runway models, Graham sources her friends and models she find on
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761:"The Designer Creating Clothes by and for People of Trans Experience"
577:"The Designer Creating Clothes by and for People of Trans Experience"
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Upon arriving in New York, Graham began working for costume designer
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64:. One credit short of graduation, she transferred to a degree in
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University of Texas at Austin
College of Natural Sciences alumni
1616:"Designer Gogo Graham Uses Makeup to Distort and Art to Empower"
950:"Designer Gogo Graham Uses Makeup to Distort and Art to Empower"
867:"Designer Gogo Graham Uses Makeup to Distort and Art to Empower"
801:"Designer Gogo Graham uses makeup to distort and art to empower"
735:"Designer Gogo Graham Uses Makeup to Distort and Art to Empower"
1461:"Gogo Graham's Designs Give Found Materials A Renewed Elegance"
924:"Gogo Graham's Designs Give Found Materials A Renewed Elegance"
669:"Gogo Graham's Designs Give Found Materials A Renewed Elegance"
1544:"Exclusive: Gogo Graham Is The Trans Designer for Trans Girls"
1099:"NYFW S/S'17: Gogo Graham showcases sensuality and femininity"
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As a trans woman herself, Graham’s own experiences within the
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that is made either for traditionally male or female bodies.
1409:"What It's Like To Model In An All-Trans Women Fashion Show"
1239:"What It's Like To Model In An All-Trans Women Fashion Show"
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grotesque in nature which provides a sharp contrast to the
465:. Philadelphia: Jessica Kingsley Publishers. p. 123.
1047:"This groundbreaking fashion show used all trans models"
110:
groups in the media, explaining how “being portrayed by
1642:"FABRICATIONS: Meet Trans Fashion Designer Gogo Graham"
1518:"FABRICATIONS: Meet Trans Fashion Designer Gogo Graham"
1357:"FABRICATIONS: Meet Trans Fashion Designer Gogo Graham"
1265:"FABRICATIONS: Meet Trans Fashion Designer Gogo Graham"
432:"Fabrications: Meet Trans Fashion Designer Gogo Graham"
262:, and there are no trends you can trace in her shows."
1317:"How New York's new wave disrupted the fashion system"
1073:"Gogo Graham is Addressing Trans Violence via Fashion"
1007:"How New York's New Wave disrupted the fashion system"
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than a handful of audience members to tears-including
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which gave her more creative freedom in constructing
827:"is gogo graham the first true trans fashion line?"
695:"Is Gogo Graham The First True Trans Fashion Line?"
544:"Is Gogo Graham the First True Trans Fashion Line?"
504:"Is Gogo Graham the First True Trans Fashion Line?"
1435:"Gogo Graham: A Bespoke Designer for Trans Women"
643:"Gogo Graham: A Bespoke Designer for Trans Women"
617:"Gogo Graham: A Bespoke Designer for Trans Women"
478:"Gogo Graham: A Bespoke Designer for Trans Women"
406:"Gogo Graham: A Bespoke Designer for Trans Women"
380:"Gogo Graham: A Bespoke Designer for Trans Women"
1550:. Archived from the original on 9 November 2018
85:, whom she collaborated with on designs for a
1487:"For Trans Women by Trans Women: Gogo Graham"
258:"there is no linear way to understand Gogo's
8:
1748:LGBTQ rights activists from New York (state)
1340:: CS1 maint: multiple names: authors list (
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850:: CS1 maint: multiple names: authors list (
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332:." Graham rejects trans fashion as a trendy
133:Graham has now presented two collections at
282:, and Quay Dash, who are all advocates for
759:Tsui, Diana and, Spellings, Sarah (2018).
575:Tsui, Diana and, Spellings, Sarah (2018).
502:Hobrecker, Mars and, James, Leah. (2015).
1640:Nichols, James Michael (2 October 2015).
1516:Nichols, James Michael (2 October 2015).
1355:Nichols, James Michael (2 October 2015).
1263:Nichols, James Michael (2 October 2015).
825:Hobrecker, Mars and, James, Leah (2015).
693:Hobrecker, Mars, and James, Leah (2015).
542:Hobrecker, Mars, and James, Leah (2015).
93:. She then left to work at a factory in
56:Born in 1991, Gogo Graham was raised in
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228:, highlighted her dissatisfaction with
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60:, and went on to study pre-med at the
1315:Nirui, Ava and, So, Veronica (2016).
1005:Nirui, Ava and, So, Veronica (2016).
194:The SS16 show which she presented at
7:
442:from the original on 9 November 2018
199:Kelley McNutt only minutes before."
1683:21st-century American women artists
1738:LGBTQ people from New York (state)
1459:Billard, Jillian (1 August 2018).
14:
1753:LGBTQ rights activists from Texas
1713:American women fashion designers
430:Nichols, James Michael (2015).
287:to the garments and the look."
1703:American transgender musicians
1407:Diaz, Devan (3 October 2016).
1:
62:University of Texas at Austin
1768:Transgender rights activists
1763:Sculptors from New York City
1723:Designers from New York City
1698:American transgender artists
1485:Biase, Christina Di (2017).
89:band, and famous drag queen
1783:Transgender women musicians
1758:People from Pearland, Texas
1077:Dazed and Confused Magazine
641:Eckardt, Stephanie (2016).
476:Eckardt, Stephanie (2016).
404:Eckardt, Stephanie (2016).
378:Eckardt, Stephanie (2016).
349:, her designs confront the
1804:
1708:American transgender women
1693:American fashion designers
165:Production and inspiration
141:'s all-trans campaign for
1778:Transgender women artists
1614:Nwadiogbu, Ngozi (2018).
1568:: CS1 maint: unfit URL (
948:Nwadiogbu, Ngozi (2018).
922:Billard, Jillian (2018).
865:Nwadiogbu, Ngozi (2018).
799:Nwadiogbu, Ngozi (2018).
733:Nwadiogbu, Ngozi (2018).
667:Billard, Jillian (2018).
16:American fashion designer
461:Craggs, Charlie (2018).
101:clothing, as opposed to
1743:LGBTQ people from Texas
1733:LGBTQ fashion designers
1688:Activists from Brooklyn
145:and diverse runways at
1728:DJs from New York City
1583:Moran, Justin (2016).
1381:Lipson, Emily (2018).
1289:Thomas, Chris (2017).
1211:Thomas, Chris (2017).
1185:Thomas, Chris (2017).
1154:Moran, Justin (2016).
1128:Thomas, Chris (2017).
974:Moran, Justin (2016).
891:Moran, Justin (2016).
38:Women’s History Museum
32:, she now is based in
1773:Transgender sculptors
1718:Artists from Brooklyn
1542:Mack, Jordan (2015).
1045:So, Veronica (2015).
114:people is inherently
46:New York Fashion Week
1433:Eckardt, Stephanie.
1237:Diaz, Devan (2016).
615:Eckardt, Stephanie.
220:Another of Graham’s
66:textiles and apparel
1491:Textile Arts Center
1097:Hall, Jake (2016).
1071:Hall, Jake (2016).
463:To My Trans Sisters
294:Industry perception
1620:Interview Magazine
1595:on 9 November 2018
1497:on 9 November 2018
1383:"Gogo Graham AW18"
1166:on 9 November 2018
1109:on 9 November 2018
986:on 9 November 2018
954:Interview Magazine
903:on 9 November 2018
871:Interview Magazine
805:Interview Magazine
739:Interview Magazine
357:behind shows like
284:transgender rights
241:that exist within
831:i-D Vice Magazine
699:i-D Vice Magazine
548:i-D Vice Magazine
508:i-D Vice Magazine
326:intersectionality
243:Japanese folklore
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