VOLTA
Editor-In-Chief Kiara Botha Senior Creative Editor Adam Ibrahim Creative Director Elisa Gontier Shoot Manager Tarra Tresham
VOLTA 2018/19
CREATIVE + DESIGN Creative Advisors Adam Pisarek, Adam Ibrahim, Elisa Gontier, Eric Ghorbil, Kayleigh Gray, Kiara Botha, Karina Koren, Maya Chambers, Raya Kondori, Tian Tang
Layout Editors Elisa Gontier, Kiara Botha FASHION Head of Styling Maya Chambers, Puneet Shokar Stylists Adam Pisarek, Adam Ibrahim, Arlene Galton, Elisa Gontier, Erin Paschos, Karina Koren, Kayleigh Gray, Kiara Botha, Maya Casson, Natasha Karim, Tarra Tresham, Tian Tang, Yang Pan
PHOTOGRAPHY Head of Photography Saxon Lane Editorial Photographers Adam Ibrahim, Kiara Botha, Saxon Lane, Stefani Eleoff, Vicky Jiang Behind-the-Scenes Photographers Electra Hu, Hamsa Jay, Jesse Xu TEXT Editorial Director Brittany Chang-Kit Literary Editor Kharissa Edwards, Matthew Nadarajah, Roveena Chand Jassal, Winny Wang, Wu Xiao, Olivia Gigone, Zahra Fatina
Writers Jonathan Ng, Kristian Hockett, Sahil Asthana EDITORIAL Hair and Makeup Artists Annie Nguyen, Carla Maduta, Carter Rose, Cody Hodgson, Josette Joseph, Kayleigh Gray, Meghan Gray, Melissa Wong, Parmis Sodagar
Models Audrey Cofie, Ayham Yassein, Bernice Chan, Carmen Mallia, Caylen Walker, Chinua Ofulue, Courtney Hanna, Emily Chan, Glorija Spehar, Hannah Jones, Holly Clemas, James White, Janelle Allen, John Kim, Michelle Alarcon, Navnoor Mann, Peter Mosley, Sabrine Hunziker, Wiley DePaiva, ZoĂŤ Abernathy
A LETTER FROM THE EDITOR This year’s 2018/19 issue is an amalgamation of the raw talent here at Western. Each year, I am in awe at what students bring to the table and I hope that you are all proud of the work you have put together. From the light, playful, and fruity images brought to life by Kayleigh Gray, to the rock and roll inspired tones created by Maya Chambers, this year’s set of shoots is diverse, intriguing, and fun.
In this year’s issue, Kharissa Edwards explores the commercialization of activism through Dior, while Wu Xiao notes the dark implications of nurturing creativity at the expense of mental health. Winny Wang highlights the makeup industrys downfalls in terms of diversity, representation, and inclusion, while Matthew Nadarajah interviews Saeedah Haque, an incredible designer revolutionizing streetwear-style abayas. Zahra Fatina then explores the spectrum of female representation in the fashion industry and the social agendas driving these trends. Finally, Roveena Jassal tells a story of emotional expression through fashion, while Winny Wang reminds us of the implications of our purchasing habits and how we can develop sustainable practices that help communities thrive. A special thanks to Elisa Gontier, who made this year so enjoyable through her support and dedication - I wouldn’t have been able to do this without you! As well, thank you to Brittany-Chang Kit for helping nurture such a large and incredible team of writers. To Adam Ibrahim, Tarra Tresham, Maya Chambers and Puneet Shokar – your creative input and commitment this year throughout shows and shoots has been integral to the club’s vision. As well, to all our stylists, models, photographers, makeup artists and shoot contributors, both old and new, thank you. We hope you enjoy this issue as much as the team enjoyed putting it together. Kiara Botha
CONTENT 008. EARTH 015. DIOR: PUSHING FEMINISM FORWARD OR CO-OPTING A MOVEMENT? by Kharissa Edwards 017. SUN KISSED 020. MR. LAGERFELD: REMEMBERING A FASHION ICON by Olivia Gigone 024. SLOW BURN
056. SAEEDAH HAQUE: A NEW KIND OF STREETWEAR by Matthew Nadarajah 060. STILL HERE 063. SCREAM FASHION by Roveena Jassal 066. GOODWILL: FOR OUR OWN GOOD by Winny Wang 068. LONELY HEARTS 078. BLENDED
030. PRESENT 036. MCQUEEN: MENTAL HEALTH IN CREATIVE INDUSTRIES by Wu Xiao 040. JOLENE 046. DIVERSITY AND THE MAKEUP INDUSTRY’S LAG by Winny Wang 048. FROOT 055. GENDER HEGEMONY IN THE FASHION INDUSTRY by Zahra Fatina
Image by Stefani Eleoff
TOP
CONTRIBUTORS Brittany-Chang Kit
Second Year; Medical Sciences I’m so grateful to have been able to contribute to the spectacular platform that is VOLTA and F&LS, in which innovative and passionate individuals across all disciplines come together and realize crazy and amazing concepts. I’m always in awe of the dedication, talent, and unique perspectives I encounter!
Sabrine Hunziker
Second Year; FIMS
I am a second year FIMS student and working with F&LS this year has given me the opportunity to be a part of interesting projects and connect with likeminded people who share the same artistic passions and are creatively motivated.
Caylen Walker
Glorija Spehar Second Year; Actuarial Science
Second Year; Computer Sciences
My name is Caylen Walker and I am in my fourth year of an Honours Specialization in Linguistics. I joined the Fashion and Lifestyle Society in first year, eager to become involved with new people in a new place. Through F&LS, I got involved with Volta, and have been involved ever since. Over the last 4 years, I’ve been everything from a shoot contributor, to writer, to model for Volta and have enjoyed every aspect of the process. I’m super proud of everything Volta has accomplished and can’t wait to see what’s to come in the future.
Being in a mathematics based program, it is quite difficult to find ways to express myself creatively. Both F&LS and VOLTA have provided me with the opportunity to have a creative outlet. I’ve been with F&LS since my very first month at Western; I have walked in 2 shows, been a part of countless shoots and videos and have made many incredible friendships. Ever since I can remember, I have always had a love for fashion. Finally, I am able to capitalize on this passion and I have this amazing club to thank for it.
I’m a second year Computer Science student and I’ve been a part of F&LS since I first came to Western. When I first joined, I was pretty intimidated since I’ve never really worked in fashion before, but since then I’ve been involved in 4 fashion shows, co-directed the Spring 2019 show “God Save the Rave”, and worked on more photo shoots than I can remember. Working with F&LS and Volta has been a great experience and I look forward to whatever next year has to offer!
Fourth Year; Linguistics
Puneet Shokar
EARTH
Creative Advisor: Karina Koren Photographers: Saxon Lane, Vicky Jiang Stylists: Erin Paschos, Tarra Tresham, Karina Koren Models: Holly Clemas, Sabrine Hunziker MUA: Parmis Sodagar
“We should all be feminists”
DIOR: Pushing Feminism Forward or Co-opting a Movement? The rise of social media has unearthed an unprecedented digital frontier for social justice awareness and activism. It’s now commonplace to see celebrities marching in protests in the wake of the Me Too and Time’s Up movements. Female empowerment is the ‘It’ movement and the fashion industry has been quick to hop onto the activism train, churning out collections that artfully address many hot topic issues such as size inclusivity, racial diversity, and LGBTQ+ rights. The commercialization of activism is being utilized by fashion conglomerates, such as the House of Dior, to aggressively push product. This new marketing strategy begs the question: how does corporate “activism” actually impact the cause it preaches about? Under Dior’s current creative director, Maria Chiuri Grazia, the brand has steadily been releasing slogan t-shirts with heavy-handed feminist references. In 2016, her debut collection featured shirts that read: “We should all be feminists”, a nod to Nigerian novelist Chimamanda Ngozi Adichie. The shirt was an instant Instagram success as celebrities and hundreds of digital influencers flaunted their feminist wares. As for who the $710 shirt benefitted? Dior announced that a portion of the shirt’s proceeds would go to Rihanna’s Clara Lionel Foundation – but they conveniently didn’t specify how much. The shirt was a massive retail success, and Grazia has since stuck with her winning formula. In Dior’s 2019 Ready-to-Wear collection, Grazia released her latest slogan tee, another basic cotton shirt, this time reading : “Sisterhood is Global”, a phrase coined by American feminist author Robin Morgan. Never mind the irony that Dior is and has always been a symbol of exclusivity and privilege–Dior’s sudden eagerness to fit in seems like nothing more than a way to pander to their customers’ desire to show off how “woke” they are. Grazia is relentlessly committed to marketing the House through brand activism. She has been a vocal supporter of gender equality and female empowerment since taking the helm. The designer told The Guardian, “We have to listen, to hear what the point of view of women is now, of the new generation.” As the first female creative director in Christian Dior’s 70+ year history, she undoubtedly witnessed – and broke through – glass ceilings in the fashion industry. Despite this, her attempts to make Dior relevant in a time of social reckoning comes across as disingenuous. Marketing cheap-looking t-shirts bearing catchy Instagram-worthy sociopolitical slogans comes off as a lazy attempt to piggyback off a hot-button issue. As author Andi Zeisler told The National Post, “There is a limit between consuming a product and that being in itself a feminist act. It’s what I call ‘marketplace feminism,’ this idea that you can buy something and feel good about it, and it stands in for thinking more deeply about the nuances of an issue.” Dior is maximizing their profits by playing to a certain social agenda, without truly contributing to the movement. They attract customers through the company’s ethos of women empowerment without being politically polarizing or taking any real stance. Put simply, Dior is benefitting off real inequalities whilst their assistance to the cause remains to be seen. The fashion industry takes advantage of millions of underprivileged women – particularly those within the garment sector – and Dior has yet to put out a t-shirt advocating for the rights of those workers. Fashion should be political. The clothing we wear is an expression of our values, personal interests, and socioeconomic status. The Council of Fashion Designers of America (CFDA) and designers such as Prabal Gurung and Mara Hoffman have used their runways to raise funds and awareness for Planned Parenthood, the Women’s March and a host of other organizations that work to better the lives of women. Their brand activism is transparent and is more than an opportunistic demonstration. That’s not to say that Dior is unfeeling: in 2017, they launched Women@Dior, a mentorship program for 200 female students on International Women’s Day to celebrate the brand’s 70thanniversary. While the mentorship initiative is a great start, a multi-billion-dollar corporation shouldn’t feel that reprinting feminist mantras onto t-shirts at a significant markup is a sufficient contribution to an urgent dilemma that they are financially milking. Words by Kharissa Edwards
SUN KISSED
Creative Advisor: Eric Ghorbil Photographer: Eric Ghorbil Model: Courtney Hanna
MR. LAGERFELD: REMEMBERING A FASHION ICON The fashion world is in mourning for Karl. Karl — a man recognizable by his silver ponytail tied back with a velvet ribbon, oversized sunglasses, high-collar shirts and cut-off black leather gloves. Karl — a man who was the creative director at Chanel for more than 35 years, elevating it from a house grieving the death of it’s founder in the 80’s to a world-renowned fashion mogul. Karl — one of the most influential and recognizable fashion designers of the 20th century. Karl Lagerfeld died at age 85 on February 19th, 2019 in Paris, France, after a long battle with cancer. He held a career which spanned 65 years, including 50 years at Fendi — since 1983 — and 30 highly celebrated years at the helm of Chanel — since 1965. “I would like to be a one-man multinational fashion phenomenon,” he once said. Indeed, he succeeded in accomplishing this goal in all aspects. Karl was born in Hamburg, Germany and later fled to Paris as a young teenager. With no formal educational background in the arts or classic fashion, he entered a fashion competition called the International Wool Secretariat in 1954 and won the “coat” category.
Lagerfeld was hired at the couture house of Pierre Balmain almost immediately, where he worked for three years before moving onto the House of Patou, and later doing freelance design work for ten years, with big names like Chloé. From there came Fendi, and then Chanel. Lagerfeld became a renowned name in the industry, as celebrities began to flock to whichever brands he was working on at the time. Yet, he of all people, never let the fame get to him. Karl was a mystery of a man — he resided in an apartment alone on the left bank which he filled to the brim with books, odd ends and his feline companion. Lagerfeld took his lifetime contracts with both Chanel and Fendi to the most literal degree, telling people when asked that if he stopped working, he may as well stop breathing. Karl Lagerfeld was a brand in himself, and a brand that will be greatly missed at that. Lagerfeld’s life, legacy and impact on the world of fashion can hardly be outlined in a single magazine article, or a ten hour long documentary for that matter. Lagerfeld not only forever changed the fashion industry in his role as a self-identified “caricature” and his work with various brands from Balmain, Chloé, Fendi and Chanel, but he also
helped many now world-famous models like Bella Hadid and Cara Delevigne to enter the industry. He successfully saved the brand from a financial collapse and shifted the brand’s focus from strictly perfumes, to fashion in its entirety. Lagerfeld revolutionized Chanel in incorporating tweed in unexpected ways for women, and placing the brand’s classic “CC” monogram — in memory of Coco Chanel — on everything from handbags to belts and shoes. Mr. Lagerfeld successfully carried on the legacy of Gabrielle “Coco” Chanel in his efforts to reinvent the fashion house into one of the world’s greatest luxury brands. He is responsible for some of the most celebrated runway shows to date, and is to thank for some of the most “distinctly Chanel” products on the market, such as the No. 5 perfume.
Karl as a young man, 1960
What is to come for both Chanel and Fendi will undoubtedly represent a shift in the industry. Chanel has already named Virginie Viard to continue Lagerfeld’s work as Creative Director, however at Fendi the question of succession has not yet been addressed. Viard has big shoes to fill; Chanel is one of the most coveted brands, ultimately making Lagerfeld’s position one of the most coveted jobs to inherit, seeing as Chanel is both privately owned and has a largely successful beauty division. Only time will tell whether Viard chooses to take the brand in her own direction and make her own mark, or whether she will remain behind the spotlight and make few changes. Karl Lagerfeld had the ability to breathe new life into brands which previously relied on historic morals, and he effectively transformed Paris into the fashion capital of the world as we know it today. It is with heavy hearts and fond memories that the fashion industry expresses hope in Viard’s ability to follow such a legacy that Mr. Lagerfeld has left behind. Words by Olivia Gigone
Mr.Lagerfeld in 1954, after winning the coat category in the International Wool Secretariat competition -- Paris, France
SLOW BURN
Creative Advisor: Maya Chambers Photographer: Saxon Lane Styiists: Adam Pisarek, Arlene Galton Models: Audrey Cofie, Hannah Jones, Wiley DePaiva MUA: Kayleigh Gray
PRESENT Creative Advisor: Adam Ibrahim and Saxon Lane Photographers: Adam Ibrahim and Saxon Lane BTS Photographer: Jesse Xu Stylists: Elisa Gontier, Maya Chambers, Tarra Tresham, Yang Pan Models: Caylen Walker, Chinua Ofulue, Janelle Allen MUA: Annie Nguyen, Carter Rose
MCQUEEN: Mental Health in Creative Industries This summer I watched MCQUEEN, a documentary detailing the intimate life of the late British designer. Prior to this, I knew of Lee Alexander McQueen in passing. I was ten years old when he died and lay witness to the tail end of his career. My perception of him was heresay. Fanmade tribute videos, magazine clippings, and stories the tabloids told post-mortem were flimsy imitations of the revolution others experienced in real-time. I did not, nor will ever be able to, fully understand his impact upon the fashion world. What I can admire is how complex and beautiful his mind was. The documentary made one thing very clear: Alexander McQueen was a genius.
MADNESS AND GENIUS There is a saying that there is a fine line between madness and genius. The greatest inventors, musicians, and artists in history suffered from varying degrees of mental illness. The correlation between high levels of creativity and intelligence with insanity is not surprising. Abnormal brain activity allows thinkers to see the world through a different lens. This difference in perspective is the foundation to how individuals create and discover beyond the scope of normal imagination. The stereotypes of a depressed poet and schizotypal painter are more fact than fiction. Creative minds possess heightened senses. They feel, hear, and see more than the average human being. Their sensitivity makes them hyper-vulnerable to the world and this vulnerability translates into the mediums they create. It is the secret to the emotional connection people feel when they see a painting, read a passage, or listen to a sonata that moves them. It is a blessing and a curse. In the case of McQueen, his mind was a double-edged sword.
MACAbre MANIA “There is something sinister, something quite biographical about what I do – but that part is for me. It’s my personal business.” McQueen was infamous for his uncanny ability to simultaneously disturb and inspire his audiences. His collections were uncouth intrusions to the stiff-lipped fashion industry of the 90s. McQueen was a self-proclaimed melancholic thinker. He embraced the macabre and had even darker fantasies of his own. He modelled his final project at St. Martin’s College of Art & Design after Jack the Ripper, and often used grotesque imagery of death in his fashion. Blood, gore, fire, rot, terror, mania; all an inside look into McQueen’s head.
“The shows are about what’s burned in my psyche… I would go to the end of my dark side, pull these horrors from my soul and put them on the catwalk… If you leave without emotion I’m not doing my job properly.” While audiences sat in awe of his creations, it is with hindsight one considers the refinements required before any final product hit the runway. As shocking as his designs were, McQueen toned his original visions down to be digestible for the general public. McQueen’s mental health was the buffer between his overwhelming obsession with societal taboos and the unprecedented leaps in design that he took. Fashion was his lifeline and the medium he used to escape from himself. It is evident McQueen’s ability to manifest his darkness into a positive outlet gradually declined over the years. The recesses’ of his mind began as an incubator for giftedness, but soon became a rabbit hole that even he could not navigate out of.
cover illustration by Vera Wang, 2019
“There is something sinister, something quite biographical about what I do – but that part is for me. It’s my personal business.”
PITFALLS FROM PERFECTIONISM There are rumours McQueen spent over £8 million on cocaine and other illicit substances throughout his life. The bottom line to every addiction is the desire to evade reality for a period of time. Stress from both professional and personal life are likely motivators, but McQueen’s innate predisposition for perfection is a glaring red flag as to why he struggled to shake off his habits. “I am married to work.” Looking at McQueen, it is easy to see how his perfectionist attitude was a symptom of an overarching addictive personality. McQueen was a workaholic. His work relationships were his personal relationships and his studio was his home. He pushed out over 36 collections for his brand in a 17-year span while also working as the chief designer for Givenchy. Everything he did, he did to the extreme. “When I’m dead and gone, people will know that the twenty-first century was started by Alexander McQueen.” Perfectionism can foster deep motivations to succeed but it can also create an equally deep pit for dissatisfaction. It is a pendulum effect when perfectionists don’t achieve their goals; they suffer from feeling a loss of self-worth when they fall short of their ideals. Individuals live in a perpetual state of anxiety to avoid failure, and turn to substances to distract or sedate the feelings when they encounter it. Despite being under the limelight, the standards McQueen set for himself were higher than any critic’s. Just like Icarus, McQueen fell from the sky when he got too close to the sun.
ORIGINALITY AND ISOLATION They say that suicide is the ultimate act of anger turned inwards. It is an emotional state of utter isolation; void of empathy towards oneself and the world. It is the self-degrading voice of being worthless, insignificant, and disconnected. McQueen was no stranger to the feeling of decapitation from the rest of society. “I came to terms with not fitting in a long time ago. I never really fitted in. I don’t want to fit in. And now people are buying it.” Original thinkers eventually reach a point in their lives where they accept that whatever makes their thoughts unique also differentiates them from the majority. Their ideas are profound and it takes time for others to acclimate; alienation is a trade-off in the process. fin. McQueen is just one in a long list of individuals who struggled or are still struggling with mental illness. From Goya to Marc Jacobs, mental health in creative industries needs to be examined in a new light.
The stigma behind mental illness isn’t just one of learning to accept that it exists and can impact an individual’s life the same way a physical illness can. It is the recognition that mental illness isn’t an anomaly of human nature. If society can accept the genius that comes with peculiar brain activity, it should also recognize the ramifications that come hand in hand with it. It is time for us to admit that we reap the benefits of the struggles creative minds endure. We receive the fruits of their labour, but are surprised to learn about the hardships behind the scenes. Alexander McQueen was mentally ill. He had depression, abused substances, and decided to hang himself at the age of 40. There is nothing to romanticize or conceal about the lifelong battle McQueen had with himself. His illness was a keystone to his legacy, but it was also simply just a part of how his brain worked. McQueen raised beauty from the shadows and his contributions will not be forgotten. Words by Wu Xiao
image taken from McQueen film poster
JOLENE
Creative Advisor: Kiara Botha Photographer: Kiara Botha BTS Photographers: Elisa Gontier, Hamsa Jay MUA: Kayleigh Gray Stylists: Elisa Gontier, Kiara Botha Models: Glorija Spehar, John Kim