ISSUE 03 | REPRISE

ADDED TO THE FILE EVERYTHING ALWAYS HAPPENS TWICE

TIME IS CIRCULAR, REVISIT YOUR PAST

VOLUME 3

REPRISE

What do you go back to when nothing feels right?

[ Fall 24 ] MASTHEAD EXECUTIVE DIRECTOR: MADELINE BURNS CREATIVE DIRECTOR: LINDSAY KHALLUF DIRECTOR OF OPERATIONS: LEILA HAMDAN DIRECTOR OF MARKETING: ALEXANDRA DASSOPOULOS DIRECTOR OF DESIGN: HEIDI KWAK WRITING DIRECTORS: JULIANNA PENNA & ANIKA LIPPKE IDEA DIRECTORS: HEIDI PAN & ESTELLE LEE TREASURER: CHARLOTTE BONNEAU

MEETING AGAIN

UPCYCLED FASHION

photography: madeline burns creative direction: lori jang makeup: mara goldstein styling: lori jang models: elizabeth pecoraro, maya mohosin graphic design: gabby hogrefe writing: anika lippke

photography: madeline burns, quisha lee, manya dyer creative direction: lindsay khalluf, anna lynn fashion designers: mad matta, sara lignell, anna lynn makeup: mara goldstein, isabella pamias styling: isabel liu, karan patnaik models: ajani jones, taylor moses, lindsay khalluf, lauren tao, ciara mcnamara graphic design: heidi kwak writing: jayla wideman, alexandra dassopoulos

NOSTALGIA & NATURE photography: marina gallozzi, julian huang creative direction: lindsay khalluf, micah pryor makeup: mara goldstein styling: isabel liu, karan patnaik, karina han models: almitra guart, raha murtuza, thandi chikuhwa, joshua grunhoefer graphic design: quisha lee writing: heidi pan

ROCOCO

photography: quisha lee, manya dyer creative direction: anna lynn makeup: mara goldstein styling: gabby hogrefe, jaxon farmer, isabel liu creative assistance: madeline burns models: sophia fife, bahar hassantash, kelsey olmen, julianne meneses graphic design: jaimie koh writing: renatka kozlowska

TATTOOS photography: zoe frantz creative direction: lindsay khalluf models: amaya sims, sophia monsalvo, caroline simmons, norah solaiman graphic design: quisha lee writing: julianna penna

REPETITIVE ROUTINES photography: zoe frantz, quisha lee creative direction: micah pryor styling: maya dow, gabby hogrefe, micah pryor creative assistance: lindsay khalluf models: madeline burns, sabine kwon graphic design: jaimie koh writing: christina pan

MEETING AGAIN, AGAIN photography: liz esteves, julian huang creative direction: lori jang makeup: isabella pamias styling: karina han models: elizabeth pecoraro, maya mohosin graphic design: gabby hogrefe writing: julianna penna graphic design support: lindsay khalluf, heidi pan, madeline burns, leila hamdan fall 2024 cohort: lori jang, anna lynn, micah pryor, heidi kwak, quisha lee, jaimie koh, alexandra dassopoulos, maggie sansone, olivia scharf, nina skweres, liz esteves, marina gallozzi, zoe frantz, julian huang, manya dyer, jiwoo park, charlotte bonneau, estelle lee, heidi pan, db won, ty roedy, sophia fife, gabby hogrefe, karina han, jaxon farmer, karan patnaik, bracie aston, maya dow, isabel liu, sharon xie, kayla eng, mara goldstein, isabella pamias, christina pan, kia zara, julianna penna, anika lippke, renatka kozlowska, jayla wideman, leila hamdan, madeline burns, lindsay khalluf

WHAT’S INSIDE? B.

A.

C.

E.

D.

F.

G.

REPRISE A. MEETING AGAIN B. NOSTALGIA&NATURE C. ROCOCO D. TATTOOS E. HIGHLIGHTING UPCYCLED FASHION F. REPETITIVE ROUTINES / GIRLHOOD G. MEETING AGAIN, AGAIN

have we met ...

be

fo re

?

NOSTALGIA

&NATURE

saturday’s morning roses made me remember you, forget-me-not mess, across my dim duvet.

slowly, swallow, drink in, in a long-shaking scream— oh, oh god.

in the cold, what trespasses i take

upon you to feel you warm and whole, once again.

and pale gardenias, white pockmarks, wondered upon during the red-rising, skin-soft evening after.

sex with the not-dead too early after. your corpse a child again, tugged feet-first into earth. in slow

motion orchids reverse. grow old, thin to infants.

goodbye, i love you, again. coiled parasites,

bodies beneath my navel for long years unknown to me.

tulips, two open irises widen

by Heidi Pan

bringing

ROCOCO

COQUETTE the style

back

by Renatka Kozlowska

TATTOOS

interviews transcribed by Julianna Penna

“I grew up in a neighborhood that was built on a nature preserve, so I grew up around a bunch of wildlife–like deer, and birds, and hawks, and everything–and I had deer painted in my room. It was a whole thing. I hit a deer with my car once. They’ve just been everywhere in my life.

The deer was fine. I was fine.

And then, I recently have been on this therapy journey with unpacking some stuff that happened in high school and my childhood, and I realized a major throughline was the trauma responses of it all, and how I react to things. I’m a very big people pleaser, so I wanted to get something to honor that part of myself, and honor the environment that I grew up around.”

- Norah Solaiman

“The two on my back are from different phases and lessons that I learned that were important to me at the time and I want to remember going forward.

The symbolism of animals was cool to display. The stargirl on my arm is my name-tag, because I’m a star!”

“For a big tattoo or an investment, you need something you’ve thought about to some extent. I chose to put the two about me on my back, because my back is my autobiography of tattoos.

I plan to get a lot. So, the ones about me are going to go there, being my little story, or canvas. The one on my arm I got with a friend who’s like a big sister to me, so we got matching tattoos that day.”

- Amaya Sims

“The two together on my arm are kind of inspired by more personal things, things that remind me of my family and my childhood. My end goal for this tattoo is to have more literal symbols that wrap all the way around my arm, and I’m going to make it into a cuff, or charm-bracelet.”

- Caroline Simmons

“This tattoo I got in Colombia in the last two days of my trip there, and throughout the whole time living there, I was really aware of the moon cycles, more so than calendars.

I was tracking my time by new-moons, full-moons, and it just reminded me that change is constant.

I’m also changing with the moon, so I wanted to keep it with me. But, also, [I wanted this] as kind of a protection, because this tattoo I can’t see, but everyone else can.”

- Sophia Monsalvo

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MAD MATTA

Meet Maddie London, the mind behind MAD MATTA! A small business focusing on handmade fashion, upcycling, and vintage clothing, MAD MATTA has a booth at the Georgetown Flea Market each Wednesday.

Added to the File had the opportunity to speak with them about the ethos behind MAD MATTA, their personal journey to fashion and its place in society, and the importance of upcycling.

Maddie started MAD MATTA two years ago after developing an interest in sewing and vintage items. At their store, they sell vintage clothing, handmade jewelry and clothing, and upcycled items. Part of their ethos is enhancing fashion’s place in personal identity. As a nonbinary person, they noticed that “dressing authentically and in a way [they] felt was fun added to [their] self-expression.” Following that notion, all of their pieces are sold without gendering labels, and with equivalent prices between ‘menswear’ and ‘womenswear.’ Their upcycled clothing also offers the exciting opportunity to wear something entirely unique, further enhancing one’s personal identity through fashion. Find their booth at the Georgetown Flea Market to spice up your wardrobe with unique pieces!

by Jayla Wideman

denim it’s what you wear with jeans

An avid lover of sewing, upcycling, and all things fashion, Sara is the founder and president of ReStitch, an arm of ReUse that offers free clothes mending services on campus. Founded only last year, the organization has already had a massive impact.

Added to the File had the opportunity to speak with Sara about her history with sewing, the vision behind ReStitch, and the role of upcycling in the clothing world.

AN INTERVIEW WITH SARA LINGELL

“My friends would ask me to mend, like, a jacket, or a pair of socks pretty frequently, and I realized that there was a need for clothes mending at Georgetown.”

However, she quickly realized that there was a niche on campus for sewing services.

“I knew I wanted to keep sewing in college, but initially, I didn’t know what that looked like.”

Sara started sewing during quarantine and took a shine to it right away. She found that she particularly enjoyed making structured, functional pieces (like lunch boxes), and thus started working with denim as her chosen medium.

Upon high school graduation, she knew it wasn’t a hobby she could just put down.

“Upcycling is super important to reducing garment waste, and a really cool opportunity to utilize your creativity. Sometimes, the items you’re working with are in really bad condition - upcycling gives them new life.”

(j)ote

But how do you turn an idea into an organization? For Sara, it began with partnering with campus organizations that pursued similar missions. ReUse was her initial partner, and ReStich began as a pilot program associated with the organization.

“I owe a lot of its success to ReUse. They really saw potential in my program and gave me a lot of support and advice as it was getting started.”

by Jayla Wideman

Though ReStitch is primarily a free clothes-mending service, it’s currently expanding into new textile areas. Upcycling is the most recent endeavor of ReStitch, and Sara intends for it to be a larger part of the program in the future.

(j)elt

Cowboys to Counter Culture Strolling down any American street or through schools, worksites or workplaces, thrift shops or runways, it is almost a guarantee to find at least one pair of jeans. Over the past century, denim has become ever present in the modern United States. What has evolved into a classic symbol of America originates in sixteenth century Nîmes, a town in the South of France. There, French fabric mills produced a hardy fabric, known as serge de Nîmes. Slaves in the American South wore and labored to produce this early version of denim, which came to be known as “slave cloth.” Half a century later, capitalizing on the need for practical workwear in the arduous mines of California’s Gold Rush, businessman Levi Strauss and tailor Jacob Davis created the first pair of modern jeans in 1873 out of the same French material. Venturing far from the mines of California, 1930s Hollywood Western films glamorized jeans, typically worn out of practicality by cowboys and the working class in fields or farmland. No longer confined to laborers, jeans became immensely popular in the 1950’s, empowering rebellious youth, and later surfaced as an indispensable uniform for those involved in 1960’s Civil Rights protests. Traveling through the decades, denim has arrived at its throne in American society, far exceeding the role it played during Strauss and Davis’ time.

Blue jeans and all denim products have expounded the barriers of class and culture, a statement for the evolutionary tale of the United States. This durable fabric proves to be a continual reminder of America’s perseverant and hard working yet rebellious citizens. From the late nineteenth century until the late twentieth century, the varying appearance and use of denim reflected fluctuations in social movements, pop culture, and the economy of American society.

In response to harsh mining conditions of the California Gold Rush, jeans were invented, paralleling the intensity of this migration to the West and highlighting early American drive.

The jeans’ durability likely permitted the miners to work more productively, providing the means necessary for such an immense expansion into the West. Addressing the fortyniners’ adversities, jeans at this time truly paralleled the ruggedness of the Gold Rush and these immigrants’ endeavors, while also representing Americans’ drive and solution-seeking mindset. Following the Gold Rush’s revolutionary use of the material, denim evolved and continued to suit the needs of working people, such as farmers and ranchers; however, the 1930’s would trigger a vast change in the world of denim through film.

Western films of the 1930’s, followed by World War II during the 1940’s, ushered in a new connotation for denim, deviating from simply workwear. Denim supported the materialization of an ideal vision of America, spreading as a recognizable symbol for the U.S. Although numerous Americans and businesses deteriorated during the Great Depression of the 1930’s, the film industry experienced a golden age, allowing for a rise in the craze of denim. Because Western movies disseminated these images, jeans further rose in popularity: now, Americans could imitate the tough or casual cowboy style they viewed at the cinema by wearing jeans, embodying the fiercely desired lifestyle of Western independence.

A highly influential actor projecting this image was John Wayne, who was featured in a series of Westerns. He developed into an icon and symbol of the courageous, tenacious, and fighting American spirit, famously clad in Levi’s 501 jeans throughout the film Stagecoach Together, jean-plastered Western movies and actors like Wayne allowed denim to become synonymous with the rugged yet limitless American spirit.

No longer recognized as simply workwear or a uniform, denim in the 1950s evolved into a symbol of rebellion. A precursor to denim's reputation in the fifties, during the fourth of July weekend of 1947, 4000 motorcyclists rode into Hollister, California for an American Motorcyclist Association racing event, sporting leather jackets and blue jeans. Drinking and terrorizing townsfolk while police made dozens of arrests, the media portrayed the event as a complete pandemonium. By this time, bikers were now considered outlaws, with a distinct “uniform: [a] club leather jacket with a pair of blue jeans." Drawing further attention, denim found its way into more movies – yet these offered depictions of jean-wearing "bad boys." A stark transition from its idolization in Westerns, denim was now synonymous with young rebellion in movies like The Wild One (1953) with Marlon Brando, inspired by the Hollister events, and Rebel Without a Cause (1955), featuring James Dean.

Contrasting previous eras, teenagers during the fifties spent their money on records, recreational activities, and clothing like jeans, able to imitate these bikers and bad boys of the big screen.

Terrified by such a rebellious reputation, high schools banned jeans for their students. In a short video from Hicksville, New Jersey, a school official described that "many teenagers [were] as concerned as their parents with the public's conception of today's youth." Defining "bad taste in school attire and behavior," the speaker highlighted students wearing “dungarees,” or jeans.

Juxtaposing this group, another set of juveniles were shown as the ideal Hicksville students, with A-line skirts and suits. Evidently, the older generation wished to eliminate jeans in schools, fearful of rebellious students. Those who chose to wear jeans rejected societal expectations and their conservative parents. Liberated from the homogeneity of war uniforms, fifties denim also emphasized the post-war value of individuality. Millions of youths followed the trend of jeans as making them a “uniform of non-conformity.”

Transitioning into the sixties, this lifestyle of non-conformity, independence, and rebellion endured with social movements, accompanied by denim.

Denim became an integral part of the fight for Black freedom as activists donned denim uniforms during the Civil Rights Movement of the 1960s. Unlike the fifties, denim served as a symbol of rebellion against racial prejudice, rather than against school dress codes. The women of the Student Nonviolent Coordinating Committee, or SNCC, largely piloted this deliberate denim uniform. The SNCC's development of denim as their uniform addressed four main issues: practicality and ease in protest, the ideological constructs of Black respectability, the idea of the woman's role in activism, and the need for unity across all classes in the Civil Rights Movement.

During the summer of 1964, known as Freedom Summer, SNCC members traveled to rural Mississippi communities, searching for student volunteers and individuals to challenge voting laws. As they came in contact with Black sharecroppers, SNCC members decided to adopt these laborers’ denim clothing for practical and political motives, creating their new uniform. By doing so, the SNCC was dismantling the constricting principle of respectability, and in the process, uniting across race, class, and gender lines. Notably, the SNCC's solidarity with sharecroppers through denim allowed the committee to organize a more productive fight for freedom, inclusive of all Black people, regardless of class.

Simultaneously, wearing denim jeans, overalls, and skirts modernized how black women could look and protest, inciting a wave of feminism within the Civil Rights Movement. Despite how the political symbolism of denim in the SNCC faded into the background, the women responsible for the SNCC uniform set the precedent for using clothing as a political tool leading into the early 1970s.

Counterculture and the production of designer jeans in the 1970s revolutionized the denim industry, further challenging societal boundaries and class distinctions. Surfacing on the West Coast during this period, hippies protested for racial and gender equality, against their parent’s traditional beliefs, and the Vietnam War. To parallel the diversity of their movement and unconventional values, hippies donned fringe, tie-dye shirts, and jeans, deviating from the materialism and homogeneous dressing of the past. Army outlets and secondhand clothing stores developed popularity among hippies, as they bought vintage styles mixed with new pieces to create a counterculture uniform against consumerism.

Reflecting the emergence of an environmentally-friendly mentality, the denim skirt was also created in the 1970s out of recycled denim. This idea of fashion as both a political and individualist tool of expression was manifested not only by shopping second-hand, but also through the customization of denim. To differentiate their jeans and use them as a creative outlet, many hippies embroidered, embellished, and painted their pairs. During the 1960s, jeans had been a facet of unity and uniformity, as with the SNCC. While the seventies, otherwise known as the “me decade,” emphasized individualism, denim still offered itself as a method for uniformity, common among all levels and groups of American society. These contrasting uses of denim, therefore, coexisted, to allow both unity and individuality – denim was a “universal uniform" that "could simultaneously express the highest level of individualism.”

“Blue jeans and all denim products have expounded the barriers of class and culture, a statement for the evolutionary tale of the United States.”

Yet in the late seventies, the association of denim with movements of rebellion and counterculture, American ideals, and its overall symbolic meaning altered with the emergence of designer jeans. Not only lacking in individuality and juxtaposing the hippies' contention against materialism, designer jeans also produced social class distinctions. They allowed Americans who could afford them to feel "more worldly and cosmopolitan.”

Designer names were proudly displayed, plastered across back pockets, including higher end, more expensive brands like Calvin Klein, Gloria Vanderbilt, and Jordache. A "death certificate signed in 1978" for "plain good old American jeans," brands like these and "dozens of other designers who pitched their jeans with a varying level of snob appeal" killed off traditional American denim. People glorified the designers, as they reduced the symbolism in a pair of jeans to superficiality. Pre-customized jeans with lace, embroidery and other additions gave customers instant gratification – without the hippies’ effort of homemade jean modifications. Developing into a billion-dollar business by 1979, designer jeans amassed even more popularity in the consumerist 1980s, as new jean trends came into style.

With the continued popularity of designer denim, the eighties further exemplified Americans' materialistic tendencies through mainstreamed denim trends and the rise in jean advertisements championing sex appeal. Exemplifying the problematic nature of designer jeans, the eighties allowed for the further loss of jeans' symbolic meaning due to culture mainstreaming. Originating in 1970's England, punk style migrated to the U.S. in the eighties – though representing a fashion statement, rather than the Brits' anti-establishment message. Just as designer brands had begun to capitalize on denim's popularity, which had been increasing through the social movements of the sixties and seventies, eighties pop stars and brands mainstreamed punk street style. In doing so, they exploited a style originally designed for cultural expression – a style that was inexpensive and rebellious, yet fashionable. Among these items were ripped jeans, leather accessories, multiple ear piercings, and black clothing, making their way from youth culture into the adult scene. Denim designers followed closely behind the stars and apparel companies. In particular, they monetized the punks’ ripped, distressed jeans trend, saving time for their consumers from a “DIY” project. Rather than being an actual counterculture statement or symbol for equality, ripped jeans, therefore, simply became commercial and stylized, the brand names only further highlighting class divisions. Their outward look of “resistance” towards consumerism proved only a paradox with their mass-production.

by Alexandra Dassopoulos

DESIGNS

BY

ANNA LYNN

Anna Lynn’s pieces prove that the intersection between fashion and sustainability is not just possible, but can be beautiful. Her dresses, created for a competition she participated in during secondary school, are made entirely of recyclable materials. To the average person, this seems nearly impossible; the dresses cannot be differentiated from the types of styles one may see in famous fashion houses. Lynn gave us the opportunity to learn more about her creative conception and process to create these dresses.

She frequently draws inspiration from “the internet, from runways or celebrities, from movies… I become hyper-fixated on a certain aspect” that she then uses to create her own unique designs. Lynn has a particular ability to imbue things with her own unique energy, whether that be inspiration from another design or even materials not typically used for fashion. She begins her design process with this inspiration, before choosing a theme that would suit the piece well. The process includes multiple sketches, each somewhat different from the others, that she chooses between for the final design.

Once the design is finalized, she begins to choose materials for the piece. Over the years, she has created “different pieces from cereal boxes, trash bags, plastic water bottles, old curtains… mundane household items that most people don’t think twice about throwing away.” In her opinion, these pieces and fashion as a whole serve as “a creative outlet for social commentary, allowing people to express themselves and their beliefs through the clothes they wear and the art they create.” Her dresses served to highlight the “environmental crisis caused by textile waste,” the backstory of the pieces’ creation serving as something of a meta-commentary on fashion.

Anna Lynn’s designs bring sustainability and art into a stunning union. She acts as part of the new-designer cohort spearheading the movement for environmentally conscious fashion, along with the other upcycling and recyclable material artists featured in this issue. One can only imagine how high the trajectory of her work will be as we move into an era where reduced consumerism and eco-consciousness will be critical.

by Jayla Wideman

REPETITIVE ROUTINES

adulthood / girlhood

by Christina Pan

SOLACE THROUGH COMMUNITY

MEETING

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AGAIN

I. I used to shake for an hour before I walked on stage. I would shake as I walked up, and shake as I sat down on the bench. There was one particular time that kept me from performing for a while.

It took all of my willpower to ignore your gaze. In the audience you sat smiling, waiting patiently to watch me perform. Your eyes never darted from my face.

As soon as my foot shakily hit the pedal, my clammy fingers gracing the keys, I forgot all the music I’d practiced for months, the memory of it replaced completely by thoughts of you. I couldn’t help but fixate on stills I’d watercolored in my head of your nose, and hair, and lips. There was no use blinking them away. I opened my eyes again and again just to see your frame swallowing my peripheral vision.

It occurred to me that my choices were limited: either I would sit there with my shoes nervously tapping the floor, absolutely no music being made from my fingers, or I would run away from your gaze.

II. I hold the mic in my hand, there is no piano for me to play, only one gathering dust in the corner of the theater.

I’m not shaking. Maybe it’s because I have a paper to read off of. Maybe it’s because there are other people here with me on stage. Maybe I just needed a break from this for a while.

You may be sitting in the audience with your eyes fixed on me, my whole self on display. I may be forced to stand up straight and face you. But I don’t forget how to use my voice. The poem falls proudly from my lips, my feet are planted on the ground.

When I’ve finished, I don’t care to see the look on your face. I find a spot on the back wall of the auditorium to focus on. I walk off the stage with my head high.

by Julianna Penna

What do you go back to when nothing feels right?

REPRISE

Founded in the 2023-2024 school year, Added to the File (ATTF) is Georgetown’s first fashion photography magazine. It publishes two issues per year, with each issue centered around a “theme” that is explored through writing, fashion, photography, and other forms of visual artwork.

ATTF is dedicated to providing a creative space on campus for multidisciplinary collaboration and artistic expression. It was founded as a unique, artistic niche on campus for students to destress and be vulnerable through a variety of creative outlets.

Through our publication, we aim to facilitate discussion around topics relevant to students today. Most importantly, we strive to create an environment on campus that instills confidence and selfacceptance in our community.

ISSUE3

ATTF24