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    <loc>https://www.2latemedia.com/life-culture/unholydevotion</loc>
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    <lastmod>2026-02-28</lastmod>
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      <image:title>LIFE &amp; CULTURE - (UN)HOLY DEVOTION - The Modern Rebirth of Tradition, Faith, and Catholic Iconography - Image of Natalia during her First Communion</image:title>
      <image:caption>Image of Natalia Gaytan during her First Communion</image:caption>
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      <image:title>LIFE &amp; CULTURE - (UN)HOLY DEVOTION - The Modern Rebirth of Tradition, Faith, and Catholic Iconography</image:title>
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      <image:title>LIFE &amp; CULTURE - (UN)HOLY DEVOTION - The Modern Rebirth of Tradition, Faith, and Catholic Iconography - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>LIFE &amp; CULTURE - (UN)HOLY DEVOTION - The Modern Rebirth of Tradition, Faith, and Catholic Iconography - Alexander McQueen Corset from ‘Dante’ - Image Courtesy of the Metropolitan Museum of Art</image:title>
      <image:caption>It’s no surprise Gaga had such a close relationship with Alexander McQueen during her early career, the famed fashion designer for whom religion was a recurrent theme in his work before he passed away in 2010. McQueen’s most direct reference to Catholicism was in his show “Dante” for his Autumn/Winter 1996 Ready-to-Wear collection. Inspired by The Divine Comedy, McQueen crafted a show that focused on war and religion. He featured direct and subversive references to Catholicism, such as a recreation of Joel-Peter Witkin’s black mask with a crucifix embedded between the eyes. McQueen reinforced his exploration of religion and controversy through a crucifix-shaped catwalk and adorning models with accessories resembling crucifixes. The show’s discography was a mix of hip-hop, samples of Francis Ford Coppola’s “Apocalypse Now,” classical composer Samuel Barber, and pieces of the Catholic-derived Gregorian chant. Through “Dante,” McQueen solidified his boundary-pushing reputation, wielding Catholic iconography as a means of interrogating power, faith, and morality—an approach that deeply resonates with Gaga’s own ethos.</image:caption>
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    <loc>https://www.2latemedia.com/fashion</loc>
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    <lastmod>2026-02-01</lastmod>
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    <loc>https://www.2latemedia.com/fashion/dietrich-potato-salad</loc>
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    <lastmod>2026-02-01</lastmod>
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      <image:title>FASHION - DIETRICH’S POTATO SALAD - Me, my beloved bob, and Film Noir lipstick, photograph by Mila Rae Mancuso</image:title>
      <image:caption>A portrait of Marie Laurencin by Man Ray, 1925.</image:caption>
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      <image:title>FASHION - DIETRICH’S POTATO SALAD</image:title>
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      <image:title>FASHION - DIETRICH’S POTATO SALAD</image:title>
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      <image:title>FASHION - DIETRICH’S POTATO SALAD</image:title>
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      <image:title>FASHION - DIETRICH’S POTATO SALAD</image:title>
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      <image:title>FASHION - DIETRICH’S POTATO SALAD</image:title>
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    <loc>https://www.2latemedia.com/fashion/superfine</loc>
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    <lastmod>2026-01-19</lastmod>
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      <image:title>FASHION - SUPERFINE - A DEEP DIVE INTO BLACK DANDYISM ACROSS THE AFRICAN DIASPORA</image:title>
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      <image:title>FASHION - SUPERFINE - A DEEP DIVE INTO BLACK DANDYISM ACROSS THE AFRICAN DIASPORA</image:title>
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      <image:title>FASHION - SUPERFINE - A DEEP DIVE INTO BLACK DANDYISM ACROSS THE AFRICAN DIASPORA</image:title>
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      <image:title>FASHION - SUPERFINE - A DEEP DIVE INTO BLACK DANDYISM ACROSS THE AFRICAN DIASPORA</image:title>
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      <image:title>FASHION - SUPERFINE - A DEEP DIVE INTO BLACK DANDYISM ACROSS THE AFRICAN DIASPORA - Image is the cover of Monica L. Miller’s Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity</image:title>
      <image:caption>To most fashion historians, a dandy is defined as a 19th-century male figure who placed meticulous attention on his appearance, attempting to imitate an aristocratic lifestyle, while disregarding societal norms. Because the awareness of race cannot be removed entirely from perceptions of class, gender, sexuality, and nation, Miller argues that to consider a dandy’s race threatens natural aristocracy. The Black dandy’s existence alone is filled with juxtapositions. He is both hyper-masculine and feminine; he is deemed aggressively heterosexual, while simultaneously not being viewed as a real man. He is an upstanding citizen of society, while also being an outsider ostracized by that same society. He is a dark body clothed by a good suit (Miller, pg. 11).</image:caption>
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      <image:title>FASHION - SUPERFINE - A DEEP DIVE INTO BLACK DANDYISM ACROSS THE AFRICAN DIASPORA</image:title>
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      <image:title>FASHION - SUPERFINE - A DEEP DIVE INTO BLACK DANDYISM ACROSS THE AFRICAN DIASPORA</image:title>
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    <image:image>
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      <image:title>FASHION - SUPERFINE - A DEEP DIVE INTO BLACK DANDYISM ACROSS THE AFRICAN DIASPORA</image:title>
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    <image:image>
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      <image:title>FASHION - SUPERFINE - A DEEP DIVE INTO BLACK DANDYISM ACROSS THE AFRICAN DIASPORA - Image from “The Dandizette” by Kaya Ugorji, featuring Iniobong Roberts, Italy 2023</image:title>
      <image:caption>This rejection of the binary is a characteristic of dandyism that I find to be increasingly present in women’s fashion. Today, the subversion of silhouettes and aesthetics associated with gender is a rising “punk” subculture in women’s spaces, similar to the sapeuses of Congo. In 2023, I explored this concept through a photoshoot titled “The Dandizette” where I was the photographer, stylist, and creative director. In the shoot, I intentionally styled my model in a more masculine silhouette. She wore a white button-down, slacks, and a suit jacket, accessorized with platform loafers and a tie. Dandyism challenges gender norms, and I understand the added layer of empowerment that comes with a woman in a more masculine style of dress. The female dandy’s refusal to conform to societal norms is a powerful statement. In a patriarchal society, her choice to borrow from men’s style is a visual representation of her strength. However, in the same way that one may view the style of the Black dandy as a mimicry of the aristocracy, one may view the style of the female dandy as a mimicry of patriarchy. As Miller reminds us, Black dandyism is a tool of liberation, but also conformity. I believe the same logic applies to women.</image:caption>
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    <loc>https://www.2latemedia.com/fashion/throughhereyes</loc>
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    <lastmod>2025-09-22</lastmod>
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      <image:title>FASHION - THROUGH HER EYES - A Historical Analysis of Symbolism in Transgressive Lesbian Art, Fashion, and Performance - A portrait of Marie Laurencin by Man Ray, 1925, image courtesy of the Barnes Foundation</image:title>
      <image:caption>A portrait of Marie Laurencin by Man Ray, 1925.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/6880117c18d9400485d96589/1758568520761-WFOVC2FXR0IH2ENPM95C/Screenshot+2025-09-22+at+3.14.59%E2%80%AFPM.png</image:loc>
      <image:title>FASHION - THROUGH HER EYES - A Historical Analysis of Symbolism in Transgressive Lesbian Art, Fashion, and Performance</image:title>
      <image:caption>Louise Brooks by Eugene Robert Richee</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/6880117c18d9400485d96589/1758569347005-HMRNI0VB1GLBI600VO31/es+Modes+%28Paris%29+March+1928+robes+du+soir+par+Juliette+Courtisien.jpg</image:loc>
      <image:title>FASHION - THROUGH HER EYES - A Historical Analysis of Symbolism in Transgressive Lesbian Art, Fashion, and Performance</image:title>
      <image:caption>Les Modes (Paris) March 1928 robes du soir par Juliette Courtisien</image:caption>
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      <image:title>FASHION - THROUGH HER EYES - A Historical Analysis of Symbolism in Transgressive Lesbian Art, Fashion, and Performance</image:title>
      <image:caption>Alice Joyce, February 1, 1926</image:caption>
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      <image:title>FASHION - THROUGH HER EYES - A Historical Analysis of Symbolism in Transgressive Lesbian Art, Fashion, and Performance</image:title>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>FEATURES - FACES 2 WATCH - Stjórn Revali - Stjórn Revali is a self-made couturier, performance director, and artist, whose work weaves together mythology, sustainability, and immersive storytelling. She is currently in the running for Elton John’s Style Competition, with the link to vote for her here: STYLE ICON VOTING.</image:title>
      <image:caption>Maya Davila: What was your introduction to fashion? Your first memories of dressing up and exploring identity through clothing? Stjórn Revali: The dawn of Stjórn…let’s go back to the beginning. I was always—I suppose we can say—an odd child. I attached myself to what I saw in the media, and wanted to look like my favorite characters. This was my segue into the world of cosplay. From a young age, I have been a lover of costuming and cosplay. I would cosplay Link from the Legend of Zelda series, and I enjoyed finding ways to create a ‘casual’ cosplay. I loved creating outfits on Polyvore. I didn’t own a lot of clothing growing up, but I’d often get hand-me-downs from my older cousin, Isabelle, who is also an amazing designer. I would style myself based on what I got. I remember getting clothes from iconic 2000s brands like Bebe. This wasn’t my style at the time, since my heart belonged to dressing like video game characters.</image:caption>
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      <image:caption>MD: How do you balance your time? SR: I recently decided to take a break from school to solely focus on my art. Right now, I am a full-time artist. I don’t count my minimum wage jobs as a part of my career, just a way to survive. MD: Who or what is your inspiration behind your creations? Do you approach each collection with the same ethos? Or do your ideas come in a flow state? SR: Each collection has its own inspiration. I’ve shown 2 on the runway, but I’ve technically made 4. The inspiration always comes from within—my own inner world. There are outside influences, sure, but ultimately it’s how I see things. My work reflects my world; it’s not meant for voyeurs, if that makes sense. When it comes to creating garments, I don’t sketch or drape. I just start. At this point, I know which shapes I like, so I stick to that aesthetic; what changes is the embellishment. My first collection was about my ancestral lineage and the longing to understand myself, to understand the stories that came before me. It was a sense of closure after years of questioning my purpose. My most recent collection was a response to how my initial collection was perceived.</image:caption>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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