Clutch Fall 2019

issue 26

MASTER OF SCIENCE

TEXTILES & APPAREL ENTREPRENEURSHIP

INNOVATE. ANALYZE. A VANCE. Gain the necessary tools to succeed in the textile and apparel industry.

Learn innovative approaches to textile testing and analysis, manufacturing, distribution, and product design and development while exploring new technologies and gaining a better understanding of the advancements in the current textile and apparel industry.

Develop and strengthen research and technical skills needed for new product development and management, working one on one with renowned faculty members in the textile and apparel field.

Complete the MS-TAE degree in one year, with an option to travel abroad to add valued international experience.

Editor in Chief: Caitlyn Daley, Creative Director: Caitlin Madlinger Editor in Chief Assistant: Makayla Hineman, Creative Director Assistant: Isaac Quillet Stylist Director: Morgan McColl, Assistants: Giovanna Morceri, Cristin Rechel, Shannon Mellish cont. Kaylee Callahan, Taylor Cednick Art Director: Aryanna Clark, Assistants: Lizzy Zarrello, Jess Wilsey, Evan Hernandez, Alex GrifÞn Beauty Director: Christopher Desmond, Assistants: Hannah Boucher, Anastasia Novitski, Meaghan Slater Runway Director: Lily Dominguez, Assistants: Hoda El-Koussa, Brenna McWha Lifestyle Director: Paige Levenson, Assistants: Autumn Love, L’jai Brown Trends Director: Laura Kirkpatrick, Assistants: Joey Flanagan, Samantha Lane Menswear Director: Ethan Blanc, Assistant: Sophia Villiers Content Director: Ignacia Araya, Assistant: Jordan Glover Advertising Director: Grace Goebel, Assistants: Alyson Peters, Rachel Viani Public Relations Director: Elizabeth Teaf, Assistant: Ansley Corson Social Media Director: Stephanie Rivera Fundraising Director: Gabrielle Cabaron, Assistant: Justin Degen Administrative Coordinator: Megan Harris

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IN THIS

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7 20 visual texture

board room

31 gaslighting

45 58 71

business as usual

20/20 vision

vic by the beach

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Visually interesting sensory information captivates people every day and influences their artistic expression. For as long as we can remember, fashion has been this driving force behind our own creative inspiration, which is why we wanted to make it the center of the 26th issue. Every photo shoot and article is centered around the basis of developing visual creativity that reflects the overall conceptual vision of the magazine.

We call it Visually Interesting Content, or VIC, for short.

This is more than just a phrase; it is a vision for the future of the magazine, a broader outlet of creative expression for our staff members, and a way to express the nonverbal composition in a way that creates interest for the reader. VIC is about distortion of the natural world, while incorporating the elements intrinsic to the fundamentals of natural space and shape. Throughout the process of creating this issue over the past five months, we have found a way to embrace and conceptualize the world from a sensory perspective—especially visually.

Welcome to our imagination, we hope you enjoy your time here. xx, Caitlyn Daley and Caitlin Madlinger Editor in Chief, Creative Director

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DIRECTOR: Chris Desmond ASSISTANTS: Hannah Boucher, Anastasia Novitski, & Meaghan Slater

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Inspired by combining visual texture and primary colors to create a multi- stimulating experience for the senses.

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FRINGE VEST: Deandre Perry HAIR STYLING: Luna Hair Salon

Nude – the Subject of Subjectivity

By Stephanie Rivera As a woman who has had experience with the makeup industry over the years, I know that finding your perfect shade of foundation is far from easy. Every person has different undertones and pigments.

How is it possible for each of us to find our perfect match of a hue, especially when some colors aren’t even available? A hot topic of controversy has been “What is considered ‘nude’ in terms of makeup?” Most brands carry light to warm beige color options, while only providing a few darker shades to choose from.

Darker women have spoken out about the struggle of finding foundation to match their skin tone because of the limited options available. Why is it that out of an entire foundation line, more than half of the shades are made for lighter to medium skin tones.

Nude is defined as “a color of clothing or makeup resembling that of the wearer’s skin.” Oftentimes the word is thrown around, surrounding all skin color pigments, but why do companies tend to exclude those really dark shades?

The cosmetic industry in 2019 is all about natural beauty and letting one’s skin breathe. The current model trend is to show off freckles, moles, scars and even acne, while these flaws are traditionally covered up. When we wear makeup, the goal is to find a shade that matches our skin tone to give us the most natural, blended looking skin. But how can we appreciate our natural features when we can’t find a matching foundation for our skin? These constraints make foundation shopping

difficult for darker-skinned makeup users. If nude is a color resembling that of the wearer’s skin, then why are most nudes just slight variations of a beige pigment, excluding a massive portion of the population?

2018 was the paradigm shift for growth in the industry. Rihanna’s Fenty Beauty line paved the way for beauty brands, especially with its big game changer: a 40-shade foundation line, while the typical selection of shades available in a line averages at around 10. Fenty’s liquid foundation is so revolutionary that it made the TIME’s 25 Best Inventions list. Since this movement, many makeup brands have been called out for their lack of inclusivity with their foundation. Tarte Cosmetics received public backlash for only including 3 deeper-toned shades in a recently released foundation.

Tarte Cosmetics did do one thing right, however; the brand listened and took action. Tarte relaunched its famous Shape Tape Foundation, due to uproar, with a whole new range of shades. A lot has happened between 2017 and now, and these changes are groundbreaking in beauty. Makeup users all over the world are now presented with a more pleasant shopping experience in Sephora and other beauty retailers, as they are likely to find products that suit their needs. Makeup is a confidence booster, and I believe that with the diversification of nude pigments, individuals will enjoy makeup shopping, feel better about themselves, and even practice self-love, which is more important than anything above all.

“a color of clothing or makeup resembling that of the wearer’s skin”

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By Laura Kirkpatrick LA based designer, model and entrepreneur Heather Briganti has had a very exciting year. From Lizzo to Kylie Jenner, the biggest names in pop culture have sported her custom pieces. At only 22 years old, she has climbed her way up and successfully launched one of the hottest, Y2K inspired labels in the industry. That label is Yung Reaper.

L: Hi queen! To get started, can you tell me a little bit about your background?

How did you get into designing?

YR: The story is actually pretty funny.

When I was eight years old, I would always shop for bikinis and I hated all of them… none of them were tiny enough for me. Paris Hilton was my muse and I just wanted to look and dress like her; I’d say I was pretty ahead of my time. I told my mom about my dilemma and she told me that if I couldn’t find anything that I liked, then I would have to just make my own! I started going to sewing classes, but after a while I became self-conscious. I was insecure at the time because kids can be so judgmental at that age. l felt like sewing wasn’t necessary “cool” so during high school I put it on hold and decided that I wanted to either model, be an actress or be a creative director.

L: We now know that none of those ended up as your career choice, what happened?

YR: When I was 20, America’s Next Top Model reached out to me through Instagram and told me that they wanted to cast me for the upcoming season. I thought that this was it, this was my time! I was so excited. I

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made it all the way through the end of casting but at the very end, they told me that they had to completely re-cast and that I wasn’t a good fit for them anymore.

Shortly after that, the designer Christian Cowan posted on his Instagram story and said that he was looking for a seamstress in LA to work for him for the next six weeks. After following up, he asked me to email some examples of my work and at that point, I was doing sewing as a hobby and didn’t really have anything to show for. I was pretty self-conscious about it so I just never responded to him. But after a few days, he reached back out to me and asked if I was still interested in the opportunity. I felt like I didn’t have anything cool to show him at the time, so instead I told him that I could sew, run errands and that I tell pretty good jokes. A few days later I started working for him.

L: Would you say that Christian Cowan helped get your foot in the door in the fashion industry?

YR: Absolutely. I dropped out of business school when I was 20 and became a full-time student in what we liked to call the “Christian Cowan School of Fab.” He became one of my best friends and helped me get my pieces on a bunch of celebrities. The first time we met was at the Chateau Marmont and I thought “Wow, this is so fab.” He threw all of these clothes in front of me and was like “this is for Fergie, this is for Lady Gaga, this is for Miley and we have to do Iggy’s red carpet look.” All this stuff... it was crazy. Working with him taught me pretty much everything I know.

L: That is amazing! Can we talk about your brand and how you got that started?

YR: In 2017 I was just starting business classes at my community college. My dad came to me and told me that I had one month

to launch this brand that I wanted to so badly.

I was uncertain about a lot of things at the time, but I was certain that I wanted to be a fashion designer. So that’s exactly what I did.

After the first semester of classes, I dropped out in order to dedicate myself to Yung Reaper. It was really hard at first, I hated all of the pieces I was making because I was so stressed…you can’t just build a brand overnight. It wasn’t until around Coachella in 2018 when I really started to gain some traction. I made a custom outfit for Sydney Carlson and after that, the orders came flooding in. It was a huge opportunity for growth. Since then I have released a couple of capsule collections, but most of my sales come from custom orders. People want things that others can’t have and I think that’s where my brand holds its value.

pieces I would send. When it was time for the Kylie Skin launch, she reached out to me again and I sent over a couple of different variations of the Kylie Dress. I sent the dress, a jumpsuit similar to the dress and a bodysuit. During the fittings, I kept in touch with the stylist because I obviously wanted to see if Kylie liked them.

During the first fitting, her stylist said she [Kylie] wasn’t feeling them [Briganti laughs] I was like ah sh*t. That was the last thing I heard about it.

On the night of the launch I just kept refreshing Instagram to see what Kylie ended up wearL: What is the meaning behind your brand ing. I got a call name “Yung Reaper” from my sister telling me to YR: When I was 16 I found out that I had a check Kylie’s mass on my pancreas – it was a tumor that Instagram story required a pretty huge surgery. With tumors and there it on your pancreas, there’s typically an 85% was – Kylie Jenchance that its pancreatic cancer, and if that’s ner in MY dress. the case there’s a 95% death rate. I had to It was a big mohave a piece of my stomach and gallbladder ment for me because removed, 12 inches of my small intestine, I literally made that some of my pancreas and 17 lymph nodes dress on my parents dining to reconnect my liver to my stomach. It was room table. I have my own a really rare thing for someone as young as studio now, but it symbolI was. There were so many complications, ized a time where I realized it it was insane and the healing process took was time to focus on building forever. There was one day where I literally my brand after having such an thought that this is it, I am going to die. It was amazing opportunity. It was a really weird realization that I had, I was only extremely gratifying, but now I 16 and when you’re that age you live blindly. know that I have to keep workWhen we realized the tumor was benign and I ing hard to top that moment. was able to begin recovery, that’s when I came up with the name. This was before I even got L: Last question! If you could into fashion, thought of launching a brand, style anyone in the world, who or anything. Someone said to me “You keep would it be? kicking the grim reaper’s ass!” I responded on the spot, I am Yung Reaper.

YR: Wow this is a tough question. It would probably be Lana L: That is an incredible story. Before we Del Ray. In my dreams, it would wrap this up, you have to tell me. How did be Lana Del Ray for the Met Gala you get your custom piece on KYLIE JENNER and I would put her in something for the Kylie Skin launch this past spring? glamorous, majestic, ethereal and over the top depending on the theme. I think I would YR: Yes! So Kylie’s stylist reached out to me fall over and die…she is my favorite person in the past for few different Kylie Cosmetics in the world. shoots, but they never ended up using the

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Say Hey to your New Friend, Glossier!

By Autumn Love Ever wanted to know more about the continuously growing “minimalist” brand with a cult-like following, otherwise known as Glossier? Here’s some insight about this “it girl” of a brand. So how did Glossier come to be? It all started from a blog created by the founder, Emily Weiss, called Into The Gloss, featuring interviews with magazine editors, future street style muses, models and entrepreneurs that would share some of their beauty secrets. Prior to her blog, Weiss appeared on MTV’s reality TV show, The Hills and was known as the “New York intern,” which wasn’t too far off from showcasing her true ambition. By creating Into the Gloss, Weiss created a community, saw an opportunity, and ran with it.

Many wonder how she was able to make such a seamless transition from a blog into a cosmetic brand, initially being seen as the super intern. A way Glossier erupted is through YouTube tutorials on their channel where they feature “Get Ready With Me” videos or a general review of products, and in the welcome letter for the company where Weiss wrote, “Snobby is not cool, happy is cool,” which still holds true to this day, as you can see from the branding— the models in their campaigns have genuine smiles and a radiant glow.

From their most recent campaign, “Feel like Glossier,” seven influencers who were already genuine fans of their products were made into brand ambassadors. “Ernest, who works at the brand’s NYC flagship store; Hannah, a customer who Glossier found after her tweet about the brand went viral;

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and Paloma, a model who has worked with the brand in the past,” according to Adweek’s article on this campaign. Glossier is also very inclusive and naturally creates a community. The main question asked during this campaign was not “What does it make you look like, but how does it make you feel?” This tactical marketing strategy to integrate regular people into their campaign was just one of the many things Glossier has done to keep people coming back, creating a loyal consumer base.

What is it about Glossier that’s made it reach a valuation of $1.2 billion? According to Vanity Fair, fashion and beauty blogs from all over have tried to decipher what’s given it so much popularity. In the simplest of terms, it has a lot to do with its calculated intimacy and indescribable coolness.

Most customers come from “word-of-mouth” and fall into the 18-to-35 age bracket, according to the founder. Having visited the New York location, I can attest to the fact that they focus heavily on the customer experience. As you wait to enter the store, an employee comes out to explain to you how the store works, then you are led to the main floor full of product samples. Their slogan, “Skin first, makeup second,” is apparent in their “No makeup makeup look,” as they seek to enhance features instead of masking flaws.

Their main priority is to find beauty from within and to assist in finding a product that best suits you. Glossier really focuses on the idea of telling individual stories to inspire others, helping them find their voice to express themselves and feel good while doing so.

Primarily influenced by Korean fashion’s experimental nature that has re-emerged into the spotlight within the past few years. Board Room aims to blur the line between streetwear and workwear while toying with viewer’s expectations in both proportion and setting.

DIRECTOR: Ethan Blanc ASSISTANT: Sophia Villiers

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OUTFIT CREDITS: Wonsaponatime Vintage Nike Sneakers Off-White HAIR STYLING: Luna Hair Salon

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The Appeal of Alternative Clothing

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By Caitlyn Daley common idea about the fashion industry is that all designers are involved in the quick paced industry of creating and producing beautiful, luxurious clothing. Beauty is taking on a new meaning in today’s fashion world, with the goal of modern designers dramatically shifting towards redefining traditional, yet beautiful clothing. The attraction lies in the idea that these designs are anything but basic, despite the otherwise simple structural design. The “ugly” characteristics of these garments have an overwhelming character that simply cannot be ignored. The consumer demand for surprise and liveliness in their apparel choices is accelerating the industry with a force so great that, even timeless, traditional brands like Gucci and Balenciaga are revamping their collections. High fashion and avant-garde designers have created a way of making “the uncool” into “the desirable” by meeting consumer demand of mismatched colors and oversized clothing that displays an awkward and gawky appearance. I suppose this leaves us with asking: what actually causes these exaggerated styles to be so prevalent in today’s fashion industry?

Today’s modern youth is especially reminiscent, as memories and glimpses of the past are so easily accessible through technology. This nostalgia is complemented by the demand for 90’s streetwear as the popularity of this style is flooding the runways and retail stores. The rise of trends like ripped boyfriend jeans, chunky tennis shoes, chain belts, fanny packs, and frayed or distressed t-shirts have been introduced to the runway by collections like Yeezy, by Kanye West, and Supreme. Popular brands like Off-White and Gucci have reimagined

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the 90’s fanny pack with luxurious fabrics that include nappa leather and velvet, and the pouch has undergone a high-end rebrand known as the “belt bag.” What’s most interesting about this recent trend, is that the origin is much deeper than it appears, reflecting fashion’s deep attraction to the irresistible charm of unconventional beauty.

Another theory as to why unconventional gawky fashion is so prevalent in today’s fashion industry is simply because “ugly” and “mismatched” is human. Being human is to be unapologetically imperfect and flawed without guidelines. Blurred lines and no set rules on individuality is the ultimate foundation of our species. These fashion statements directly reflect the unappealing side to people and mimic the blatant imperfect nature of humans. Traditional basic beauty is fading, and with this downfall comes the rise in popularity of gender neutral styles and the blurred lines of creative expression. This imperfect streetwear concept is universal across genders and ethnicities, contributing to the rise of the unconventional beauty trend. It is not limited to one specific kind of person and can be worn by anyone. Comfort and individuality have clashed with traditional styles of beauty and what is seen as “perfect” is seen as stiff and outdated. Our generation conforms to the idea of “not conforming” to any single label or characteristic. We prefer to represent ourselves as a generation of dynamic youth, with no set structure or characteristic. This idea is perhaps more stimulating than the notion of conventional beauty, simply because it dives into a deeper symbolic reflection of fashion culture that collides with social culture. Perhaps it would even be unfair to refer to ugliness as “the opposite of beauty” as beauty and ugliness are interrelated, each irresistibly enticing in its own way.

Fashion Month Highlights

By Paige Levenson February was filled with new and captivating designs. From New York to Paris Fashion Week, the designers gave much to look forward to for Spring/Summer 2020.

Kerby Jean-Raymond of Pyer Moss transported us to his final installment “Sister,” of his 3 part series of collections, “American, Also” that was inspired by African American history. With Sister Rosetta Tharpe serving as inspiration, the collection was heavily influenced by musical themes. Cartoons of singers with a leather guitar shaped bag, and a crop top with a piano key hem comprised the more overtly exhibited musical aspects of the collection. The designer’s signature Pyer Moss yellow pinstripes, pleats, and contrast stitching were constant throughout the designs along with Richard Phillips inspired prints. While the collection was reflective of his previous work, it was made distinct by its rock n’ roll elements. Tailoring was a major focal point, as was the wide range of unisex suiting. Never one to shy away from getting political, Jean-Raymond’s collection included a shirt emblazoned with “Vote or Die, for real this time.” The second part of the show was this season’s collaboration with Reebok which also debuted the 4th sneaker in the series, the Trail Fury. This show was easily one of the best of New York Fashion Week SS20 and it was an amazing finale to Kerby’s series.

This season, the Laquan Smith woman was donning latex animal print and a jeweled cowboy hat. Smith’s SS20 presentation was as consistent as they come. There was python, leopard, and zebra print in every western iteration possible. Models were dressed

in chaps, cowhide skirts, and of course the token cowboy boots. Smith also added in a t-shirt that read “I will not not be rich,” a beloved Renata Klein quote from this past season of Big Little Lies. That graphic tee encapsulated what the collection embodied. While the models were dressed in classic renditions of western wear, there was something rich about each look. The designs completely epitomized the term “rhinestone cowboy.”

The Laquan Smith hoedown was a thing of opulence, camp, and western glamour– a true ‘golden hour’ for the designer.

Mugler’s SS20 show at Paris fashion week brought sex appeal. The pieces, largely lingerie-driven, were tailored to an extreme. Bias-cut skirts, quilted leather capri shorts, and strong shouldered blazers with accentuated waists were highlights. The casting was incredibly diverse, which allowed the pieces to speak for themselves in terms of how they looked seductive and bold on every person wearing them. Though the color palette was overall muted, there was one that really stood out. Jewel tone hues mellowed together to make a visually interesting print that was used for cut-out strappy tops, slinky dresses, and sheer bodysuits.

Sheer, chemise inspired mini dresses in shades of purple, black, and chartreuse were worn with matching lingerie sets.

Pyer Moss, Laquan Smith, and Mugler’s collections surely did not disappoint. Instead of style trends emerging from this season’s fashion month, a trend of consistently styled and designed collections was the mode du jour.

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Less is Most: The Benefits

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By Jordan Glover

ess is more is a mantra we use interchangeably in context, whether it comes to styling an outfit, designing a home, or even cooking a meal. It’s this idea that we should appreciate the simplicity of the resources we have for their intrinsic, individualistic value because sometimes it’s all we need. But it’s not merely the principle that a plain black dress can make a bigger statement than one with a bold print, or that some mascara and concealer can flatter you more than a full face of makeup.

There are actually scientifically-proven psychological benefits surrounding minimalism and its impact on our mental health. It’s time that we digress from materialism in order to be kind to the planet, our wallets, and above all, our minds.

It wasn’t until I started reading The Happiness Project by Gretchen Rubin this past summer that I even remotely fathomed the desire to become a minimalist. As someone who is both a fashion enthusiast and unbelievably sentimental, sometimes to a fault, that particular lifestyle doesn’t really fit into my equation. However, her perspective influenced mine and has already led me to make gradual changes in my personal lifestyle.

Rubin’s novel is a memoir recounting changes that she made to her routine in order to get herself out of a funk—she was immensely grateful for everything in her life, but felt as though something was missing and that elements could be readjusted in order to make her more content. The chapter titled “Toss, Restore, Organize” was one of the more impactful ones in my eyes, as it detailed her revelation with things; more specifically, with how clutter and an excess of unnecessary belongings can have a drastic effect on your mental health. As human beings, we have conditioned ourselves to innately believe in a correlation between abundance and happiness, fulfillment. We perceive that the more we own, the happier and more successful we are. Rubin challenged this notion by talking readers through her journey with de-cluttering her closet and home. She coined eight different types of clutter throughout her exploration: nostalgic clutter, self-righteous conservation clutter, bargain clutter, freebie clutter, crutch clutter, aspirational clutter, outgrown clutter, and buyer’s remorse clutter. We tend to hold onto things

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of a Minimalist Lifestyle or collect them because of a desire to hold onto the past, overconfidence in our unrealistic uses for things, our tendency to be wishful thinkers, our giving into good deals, and how we take things because they are merely at our disposal, because why not?

After removing items that fell into these categories, Rubin “noticed a paradox.”

She found that despite the fewer clothes she had in front of her, the more she had to wear, because they were all items she would realistically wear. Having fewer options made her feel happier, as having too many choices can be discouraging and paralyzing. She noted, “Studies show that when faced with two dozen varieties of jam in a grocery store, for example, or lots of investment options for their pension plan, people often choose arbitrarily or walk away without making any choice at all, rather than labor to make a reasoned choice.” I then proceeded to narrow down my own collection of solid black crop tops, from a staggering twelve, down to seven.

I’m still working on it, but now I feel liberated from the burden of having way too many options for one type of look.

Minimalism has been the wave for a

while. Netflix released the film “Minimalism: A Documentary About the Important Things” back in 2015, which brought to light the amazing stories behind entrepreneurs, artists, scientists, businessmen, and more, and their minimalistic lives. It touched on reducing waste and stress, while increasing happiness and meaning. Since then, with a steady rise in environmental consciousness, people have attracted to this idea of minimalism, whether that’s from a standpoint of physical materialism or visual aesthetics.

Then came “Tidying Up with Marie Kondo,” a series in which expert Marie Kondo demonstrates to viewers the magical powers behind reorganizing and clearing out living spaces in order to benefit one’s health, productivity, and happiness.The fundamentals of “property” originated from a means of survival, as we needed to own certain articles like clothing, food, and shelter to live, but this has transcended to a system of luxury and surplus. I believe that we would find ourselves significantly more satisfied if we focused on the few things that truly made us happy and comfortable, rather than trying to add to collections.

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DIRECTOR: Lily Dominiguez ASSISTANTS: Hoda El-koussa & Brenna McWha

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Inspired by the reemergence of 60s style into modern day high fashion, Gaslight sought to encapsulate the contrast between beauty standards highlighted during the time period and everyday tasks. The focus was to present a disparity between the monotony of the models’ actions and the caliber of which they were styled.

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OUTFIT CREDITS: Wonsaponatime Vintage Revolve HAIR STYLING: Wanderlust Salon

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Multi-talented Artists

By Jessica Wilsey To fully understand any impact of multi-creative artists involved with music and fashion, understanding the relationship between fashion and the music industry is key. Think back to the 1970’s glam rockers. David Bowie, KISS, and others drew inspiration from their “sci-fi” backstories, thus creating their legendary glamourous looks. You can’t forget about Kurt Cobain’s edgy and rebellious appearance that spread within the 90’s which matched his rage presented in his music. Still to this day, Cobain’s look is easily recognizable as the 90’s grunge era look. These artists owed a lot of their success to their distinguishable music and their recognizable appearance that separated themselves from other artists in their time.

That said, Tyler’s cultural impact—tied as much to clothing as it is to music—is undeniable. Since his song, “Yonkers,” has been released in 2011, Tyler went from being a rapper from LA to the face of a new era of streetwear, launching his own brand and collaborating with countless others.Tyler started off his career with the typical LA skater look; graphic t-shirt, Vans, tube socks, and a dabble of Supreme. Earl Sweatshirt and other artists joined him, creating the Odd Future group that ended up adopting the “skater boy” aesthetic.

From starting a website of Golf Wang merch, to opening up a Golf Wang store on Fairfax Ave in 2011, Tyler and his group have been thriving. Their success can be attributed to how the donut logo has evolved into a style of clothing that pairs well with the music that represents them; thus, creating an overall aesthetic for everyone involved in Golf Wang culture. The clothing resembles Tyler’s music; loud and hard to miss. Tie-dyed hoodies with cat faces, bright pastel colors, graphic donuts, and more speak to both Goblin and Flow-

er Boy. In 2013, Tyler collaborated with Vans, officially labeled Golf Wang x Vans Syndicate, and then shifted to a Converse collaboration in 2016.

Tyler and his work intentionally creates clothes that reflect his personal style, instead of focusing on trends. Many designers direct their focus to profit and appeal to please their audience, but Tyler and his team have proven how much their intentions are clear; the content is meant to reflect where Tyler is at in his music and his individuality.

Tyler, The Creator’s impact has always extended beyond music. The basic make-up of his wardrobe—camp shirts, bucket hats, tie-dye—not coincidentally forms the foundation of modern streetwear. At the same time, popular artists and athletes are moving away from traditional luxury and experimenting with streetwear across the board.

Today, countless rappers are glorified for their atypical fashion choices and you have to wonder whether they would be as comfortable in Vans and skinny jeans if it weren’t for Tyler. He is just one of the many artists that prove artists are not limited in the realm of only music; their creativity reaches other interests that amplifies their music.

“I’m just happy to be in a place where I make a bunch of stuff that I want to wear, and it’s people who think it looks cool too,” said Tyler, the Creator. “If you like it, you like it, and that’s how I approach everything I do. It’s made for my pleasure and personal taste. I never want to lose that.”

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Inclusivity in

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By Ignacia Araya

he expansion of the fashion/film industry across the domains of gender, race, and ethnicity have paved the way for inclusivity, allowing names that once wouldn’t have made headlines to step into the spotlight and shed a glimpse of hope for those with similar

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identities. Minorities and marginalized communities typically only have each other to relate to in terms of lack of representation and personal hardships that come from being in these groups.

We find ourselves caught between not wanting to be perceived as “the other” while also only finding comfort in relating to one another. The experiences and socio-cultural characteristics of each and every one of us allow us to find solace in the prominent figures that look like us, who are setting milestones.

Such representation for the trans community was advanced with the feature of model Indya Moore on the cover of ELLE in June 2019 as the first trans person, of Haitian, Dominican, and Puerto Rican descent, to make the cover in the magazine’s 34y e a r

Film/Fashion history. Moore stars on the FX series Pose, a series with the largest cast of trans actors in history, and they were also named among the 100 most influential people in the world by Time Magazine. The representation in Pose is a big step for the LGBTQ community, because it’s a look into the reality for this group. While it is refreshing to see such an array of personalities on the screen, Pose star MJ Rodriguez reminds us that there’s still work to do and that her reality is not the same for the community across the board; she says she knows her reality is the exception, not the rule, for her fellow trans sisters and brothers.

The same is applicable for the indigenous community. Mexican actress Yalitza Aparicio appeared on the cover of Vogue Mexico in January 2019. Coming from a community that is hardly represented in a positive light, this representation spoke volumes for those who have long been marginalized and portrayed negatively in the media. This comes from a history of not fitting into Western societal norms and being portrayed as the “other.” Conventional standards for Vogue features have historically comprised of those with light

complexion to appeal to a specific target audience; attempts at diversity in Vogue and beyond are usually met with the bare minimum. It’s as though representation for minorities occasionally acts as a check-off list of groups to include. Take, for example, the fact that Vogue has included a Kardashian in “ethnic” efforts such as in Vogue India, with a Jenner in the “diversity” shoot. It doesn’t follow for cultural richness to be downscaled and skewed from authentic to fraudulent when there is such talent and beauty beyond our borders that is just waiting for a chance at the spotlight. This is all to say that the shift in who is deemed worthy of having their face on the cover of an international publication to include an indigenous woman is a huge step for inclusivity and representation in the pop culture media. Thanks for the crumb, Vogue.

With this in mind, it’s important to note the larger, hopeful principle that comes with putting such identities at the front lines of the fashion industry.

This should not be skewed to imply something along the lines of the glass ceiling being “shattered,” but rather, it has been tapped. While there is much progress to be made for these groups and such representation can be seen as just being the crumb of the change that needs to be enacted, seeing someone that looks like you and that is just as “different” on the big screen is a gentle reminder that you are not alone in the fight and the walls that may try and stop us are meant to be teared down.

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Influencers— Are they Celebrities?

By Samantha Lane

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he concept of a “celebrity” has taken quite a spin with its definition lately in this day and age. In the past, it’s been deemed someone with a specific talent or contribution to the general entertainment industry, worthy of attention. In today’s social media-dominated world, we have conceived a new level of who and what is considered a “celebrity.”

In addition to the A-listers of society, such as actors, artists, and runway models, random people on Instagram with 100,000+ followers have entered public discourse and the media space. You’ve heard about them, you’ve seen them, and you might even know them: the new wave of “influencers.”

So what is an influencer? What started as a ploy for internet personas to make money has become an actual form of marketing, appropriately dubbed influencer marketing. Several of these influencers make money purely off of their social media content, as they attract the target demographics set out by the company they are sponsored by. People like Amalia Ulman, Tammy Hembrow, Andrew Bachelor, David Dobrik, and Savannah Montano are all big names within this community. Influencers can make a steady income within this industry, between platforms like YouTube and Instagram.

Even micro-influencers are making around $40,000 to $100,000 per year. The common promotions, sponsorships, and brand deals from these influencers include magic hair pills, vitamins, and new apps.

There exists a controversy surrounding the fact that they often skew our perception of these products; influencers face a

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significant amount of backlash promoting these products because they’re deceptive advertisements that can be a publicists’ nightmare.

Flat Tummy Tea has been exposed in the past for offering influencers more than $10,000 for one social media post.

David Dobrik, a renowned presence in the YouTube community, promoted the app Need For Speed in a video, and in return received not only a hefty check, but also a customized Lamborghini which sells for more than $200,000. Companies understand that attention is currency, and the power that these internet personalities have on their sales can be like night and day.

That’s the thing, though. Businesses strategically select certain people to promote their products who already have an established internet presence for some reason or another, whether they already model, already practice photography, already facilitate a podcast. These influencers are often considered talentless, but they are also often selected because of their talents; therefore, there is definitely a gray area.

Can anyone become a model, comedian, or actor solely through a solid social media presence? This career concept is still very fresh and somewhat perplexing.

A lot of backlash has been brought forward on the account that influencers are ruining the self-esteem of their followers, as they portray themselves to have a perfectly edited life. Influencers sometimes promote a fantasy lifestyle with seemingly unattainable and unrealistic portrayals.

It’s difficult to determine whether they are truly crossing a line by promoting products and if this has negative effects on societal mental health.

TOP TIER

Join our team: www.toptiermpe.com/jobs Follow us: @therealtoptier

Top Tier is a lifestyle brand created for students, utilizing peer to peer influencers to impact the collegiate marketplace. Founded in 2014 at Florida State University, we are now on campuses all over the country. Our student leadership team works tirelessly to build strong ambassador programs. We have worked with companies such as Bumble, Twenty (IOS app), Rolling Loud Festival, and the list goes on. One of our most significant accomplishements is being included in the Seminole 100 awards hosted by the Jim Moran Institute for Global Entrepreneurship at FSU. The Seminole 100 honors the fastest growing businesses owned and led by Florida State alumni. The heartbeat of our company is our team! We use our student networks to produce large-scale events, engage in peer to peer marketing initiatives & local campaigns, and assist other companies in branding themselves within the collegiate space. In 2020 we are excited to launch Top Tier apparel and continue to grow our brand presence throughout the nation.

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DIRECTOR: Paige Levenson ASSISTANTS: L’Jay Brown & Automn Love

Inspired by the feeling of when the monotonous routine begins to hinder individual creativity. The contrast of professional business attire with eccentric makeup plays on the underlying desire to conform to a certain persona, yet always falling back to who you really are when the work day ends.

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OUTFIT CREDITS: Wonsaponatime Vintage All Saints Top Shop Nordstrom Steve Madden Burberry Versace

By Lizzy Zarrello Euphoria depicts the disturbing reality of high school in the new age of social media, dating apps, fan-fiction, cyber-sex workers, gender identity and sexual orientation. The individual coming-of-age stories of these teenagers reflect pieces of viewers. This series focuses on the recovery story of Rue, a 17-year-old drug addict who stumbles upon her new best friend, Jules, as she confronts her desire to stay sober. This leads to an interconnecting web of individual stories of her classmates and friends.

Beyond the eccentric patterns and whimsical, glittery eye makeup, there’s depth to Euphoria. Rue spends the majority of screen time hidden behind khaki shorts, an oversized burgundy hoodie and no makeup. Throughout the show, Rue is someone who is disinterested in dressing with much regard for femininity; her style balances masculine and feminine energy, symbolizing her sexual ambiguity and fluidity.

Nevertheless, her signature look is an accurate depiction of the toll that mental stability takes on one’s appearance.

Rue battles with her mental health and these internal conflicts leave her with a lack of regard towards her appearance, health, and those she loves the most.

This is not rare for many youths today, as teens face both depression and drug addiction alike.

While Rue is fighting her addiction, she is given endless amounts of encouragement from her best friend Jules, whose style is very pronounced, always incorporating distinct layering of colorful pastels, tennis skirts, and mesh tops. Her look was the female

embodiment of innocent eye candy.

A sense of rebellion is evoked within both Kat’s and Maddie’s storyline. At the beginning, Kat is the cliché, socially awkward virgin but slowly climbs toward being a symbol of female empowerment. She reflects the free will of women to take ownership of their own bodies on screen. A series of events leads her style to take a complete 180 from the beginning of the show to the end. As Kat explores her sexuality, she gains the confidence to express her badass self in a brand-new wardrobe.

Almost every outfit from that moment on incorporated a harness, bondage accessories, mesh, lace, corsets or intense makeup. She previously viewed herself as something that took up too much “space,” but realizes that there’s nothing more confident than a woman wearing whatever she wants regardless of her size.

Maddie also shares a stick-it-to-the man mentality. As one of the most iconic characters throughout the series, her wardrobe consisted of many custom pieces including the notorious i.am.gia purple cutout two-piece set, along with her rainbow Louis Vuitton monogram set. Despite her many sets, all are outshined by her infamous sequin eye makeup. Taking the internet by storm, these makeup looks shed light on how makeup can be used as a fun fashion statement, rather than to contour away our insecurities.

Every character within Euphoria has a story and style to match, allowing audience members to relate to their experiences. Their unique backgrounds normalize the hardships and struggles of coming to terms with your identity, encouraging self-expression.

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Gender Non-Conformity

By Autumn Love

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SESSIONS ROAD CAMPUS SUNDAYS | 9:00AM | 11:00AM

CityChurchU.com @CityChurchU

Unconventional Fashion Shows

By Paige Levenson

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nconventional fashion shows are becoming so prevalent that they’ll soon be considered the new normal. Spring/Summer 2020 perfectly showcased the emergence of designers giving their own twist to their shows. While Thom Browne is known for his eccentric presentations; designers like Issey Miyake, Zac Posen, Ralph Lauren, and Susan Alexandra dared to think outside of the box and follow his lead.

Ralph Lauren’s NY Fashion Week show transported us to a Great Gatsby-esque jazz club. “Ralph’s Club” showcased the designer’s take on tuxedos and red carpet wear. The ballroom location on Wall Street coupled with Janelle Monae performance made for a memorable night. The eponymous brand made jazz age glamour the talk of the town this past September.

Another excessively regrammed show was Issey Miyake’s. When you have pulley systems dressing your models and models traveling down the runway via skateboard, it’s hard not to talk about you. The Japanese designer’s show at Paris Fashion Week left everyone’s mouth agape. Models walked out in nude clothing and were dressed by what appeared to be drones, but turned out to be a pulley-system. The systems floated down from the ceiling and placed clothing onto the models. Once dressed, the models hopped in a synchronicity that revealed the springlike fabric. Although, Miyake is known for his technology-driven designs, this was a whole new arena.

Instead of hosting a show, Zac Posen opted to create an immersive lookbook for SS20. Model Winnie Harlow was filmed in 360 degrees to showcase his collection.

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Taking inspiration from ballet, layers upon layers of tulle, mille-feuille, and yards of taffeta comprised his designs. Using movement in the photographs shows what the clothing will look like in real life and its natural motion. This attention to three-dimensionality may pave the way for future tech-centered lookbooks and fashion shows. The use of the 360 degree videos allowed for the movement and drape of the fabric to be shown in a riveting and cutting-edge way. This gave each viewer the feeling of being in the FROW. With the recent, shocking news that Zac Posen has shut down his namesake label, this was unfortunately the brand’s last lookbook.

Most notably, Susan Alexandra made her NYFW debut last season for Fall/Winter 19 in a downtown bagel shop. This season, she did not stray from her unique roots – she held an adult Bat Mitzvah at the Public Hotel complete with a hora dance, a Baz Bagels spread, and a rabbi. The models,comedians and Instagram stars alike, were adorned in butterfly tops, beaded tanks, and wigs topped with her beloved hand-beaded bags. Her fashion week interns were dressed in her yiddish phrase t-shirt collaboration with Katie Kimmel.

Susan was certainly the most envied among the 13-25 year old fashion set this season.

Considering fashion week started in 1943, designers are coming up with new ways to set them apart from the rest of the classically planned fashion shows we have become accustomed to. In the age of Instagram, everyone is striving to become the most reposted, storied, and commented on. These designers are definitely succeeding in that realm. With the exponential rise of unconventional fashion shows and the steady decline of traditional shows, is this unorthodox trend becoming the new normal?

DIRECTOR: Laura Kirkpatrick ASSISTANTS: Samantha Lane & Joey Flanagan

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Trends transition through the end of an era, but hindsight remains 20/20.

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OUTFIT CREDITS: Wonsaponatime Vintage HAIR STYLING: Wanderlust Salon

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Sneaker Culture

By Megan Mitchell Sneaker culture, once a subculture, has slowly developed into an international marketplace and lifestyle. Sneakers have become a symbol of status and can be interpreted as an attempt to emulate the look of one’s role model. Sneaker culture, an evolving trend with roots in the rise of hiphop culture, has infiltrated the world of high-fashion. The pop culture movement of trend-setting casual kicks has even made an appearance in Paris Fashion Week by none other than Virgil Abloh himself. Sneakers entering the industry of high-fashion has welcomed an entire new community into the industry as well. This new community has a different take on fashion, which sometimes may even include showing up to a fashion show in a track-suit. Certain sneakers have been seen as a status symbol for decades, but this status symbol is becoming further defined by the younger generations. As a result of this, the price tag increases to fuel the “status.” This can be seen through Balenciaga, Yeezy, and Comme des Gaçons since Gen Z and millennials are willing to pay hundreds of dollars on sneakers. Sneakers have given shoe-wear a new take; from being useful in the area of comfort for functionality and practicality to having uses extending into the designer world and beyond.

The history behind the rise of sneaker culture began with Converse’s Chuck Taylor High Rise that was endorsed by the basketball player, Chuck Taylor, in 1921. Fast forward 50 years to Nike in 1972, when athletic shoes began taking sneakers out of the domain of athletics and into fashion with the Nike Cortez. Gucci later took the step of sneakers a degree further, being the first to emerge into the luxury market in 1984 with their Gucci Tennis Shoe. A year later in 1985, the infamous Air Jordan 1 was launched and placed at the forefront of sneaker-head culture. Within a year of Air Jordan 1’s being launched, Adidas launched their Superstar sneaker into the

everyday lifestyle. By 1996, Prada had debuted PS0906 which was deserving of the runway. Through the evolving popularity of sneakers; sneaker culture has been successful at harmonizing athletics and leisurewear.

Sneakers themselves throughout time have become collectible items, a rarity in certain instances. Sneakers are valued by collectors based on their rarity, signature, or celebrity model. Celebrities have also played a significant role in the rise and status symbol of sneakers within society.

Individuals such as Kanye West, A$AP Rocky, Pharrell Williams, Travis Scott, Billie Ellish, and Hailey Beiber have all pushed sneaker culture to the forefront of the fashion industry through their everyday wear and red-carpet attire. Sneaker culture’s emergence into the international marketplace has become a shared language for people all over the world; regardless of situational factors, sneaker culture remains constant worldwide through everyday fashion and editorial fashion. This international marketplace has created a billion dollar industry, giving rise to collector and consignment stores of rare sneakers whose rarity equals currency in sneaker culture. Stores such as Fight Club, Kith, and Stadium Goods have begun making appearances throughout the globe and have the ability to release and debut the limited edition models of sneakers that are coveted by sneakerheads. The suspense built up by limited edition models creates a higher demand than supply and has given rise to the resell value of many classic or limited edition sneakers. Sneaker conventions have started popping up throughout the nation for collectors to expand their collections, trade, or sell their collected sneakers.

Sneaker culture is a fundamental part of various worlds: fashion, music and sport, and has been successful at uniting the three worlds together into a billion dollar industry.

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One Size Does Not Fit All

By Stacey Novitski From super soft crop tops to socially acceptable pajama bottoms, Los Angeles inspired retailer Brandy Melville consists of closet staples of every teenage girl—that is if she is between the heights of 5’7- 5’9 and has a 24 inch waist, of course.

Originating in 1994 in Italy by founder Silvio Marsan, the brand gained momentum when it was launched in the U.S. in 2009 and began competing with rivals such as Urban Outfitters and Free People. The brand caters to teenage girls aged 15-25; therefore, it owes much of its success to social media and a deceitful marketing strategy.

Brandy Melville has adopted the marketing technique that differentiates them from most retailers- the dreaded “one size fits all” policy. It is impossible for a skirt that fits a size 0 to fit a size 10 the same way, but this policy does give their store an exclusive edge by welcoming only “model-sized” girls.

Although it is evident that one size does not fit all, this marketing strategy works in their favor. One might ask, “How could eliminating a huge portion of their customer base actually help a brand?” Well, girls continue to buy their tiny tops and generic plaid pants because of the backwards message that wearing these clothes will make them look (and feel) like a petite model. Another selling point is that it makes it easier to shop- the piece either looks good or it doesn’t. However, this again, sends the message that the brand caters to a very specific audience, and those who don’t fit the criteria can’t find a way “in”.

An increasing number of brands

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have begun to adopt this marketing strategy, such as American Eagle with their “Don’t Ask Why” collection. One can only hope that this won’t become more widespread, but seeing as singling out petite girls actually helps brands like Brandy Melville, we can’t really be sure.

With the recent rise of the idea of self-care and self-love, supporting brands like Brandy Melville seems paradoxical, and yet, we continue to sport their trendy pieces. Why? Because the influence of social media and celebrities showing off their lean bodies in Brandy apparel is stronger than the message of body positivity. This ultimately promotes an unhealthy expectation of body image as girls end up criticizing their own bodies rather than ridiculing the marketing scheme.

As the demographic they cater to is very young, their current market consists of impressionable teenagers and young adults. At that age, it is really easy to conform to the way society portrays body image, which can cause a slew of issues, such as eating disorders.

The mystery behind the madness is that, according to the Center for Disease Control and Prevention, the average American woman weighs 170.6 lbs and has a 38.2 inch waist, so the clothes are intangible to the majority of their customer base. Essentially, the brand is insinuating that the “majority” is not welcome to shop at their store, and can shop elsewhere.

Ultimately, I think there is something to be said about brand exclusivity, and the idea that only catering to a select population will actually make the brand more popular and desired.

Couture Takes a Turn

By Caitlin Madlinger ithin a creative field such as the fashion industry, designers must be conscious of the potential reactions of the public while maintaining an artistic sense of expression. In today’s world, instant communication is at our fingertips, and the fashion industry has proved to be a controversial topic. The industry has continuously received criticism as the public reacts to what could be considered sensitive content. One of these controversies stems from the climate crisis being at an all-time high; environmentalists everywhere have been shedding light on the detrimental effects of the fashion industry on the environment. One of the biggest problems lies in fast fashion because the rapid turnover rate of production to satisfy demand produces an insane amount of clothing.

As retailers work to satisfy the rapidly increasing consumer appetite for the latest trends, more and more energy, water and resources are being used to make it all happen. The large scale of the fashion industry alone is enough to raise concern as to what it is doing to our environment, and consumers are feeding into the industry by enlarging their carbon footprint and buying more. Many retailers have taken action to reduce their carbon footprints. Yet, at the rate the industry is producing clothing, it is going to take a dramatic change in production to create a widespread sustainable culture in the industry. This poses the question, is it even possible for the fashion industry to exist as we know it? A group of global environmentalists called Extinction Rebellion says no. Extinction Rebellion unexpectedly provided the finale for this year’s London Fashion Week with a pretty graphic production. The group staged a funeral procession of around 200 people, carrying two coffins that read “Our Future” and “RIP LFW 1983-2019.” Protesters were dressed in black funeral outfits, some with

veils over their faces. Members participated in throwing buckets of fake blood and roaming through the streets to disturb traffic. The goal of this production was to disturb “business as usual,” proving that life as we know it cannot go on without dramatic action. Extinction Rebellion was joined by a protest and performance group called the Red Brigade, who painted their faces stark white and wore red robes. The whole production definitely added an eerie disturbance to the conclusion of this year’s London Fashion week.

The group had previously reached out to the British Fashion Council, demanding the permanent cancellation of fashion week. On their website, Extinction Rebellion offers some explanation saying, “We understand that the British fashion industry is trying to change its ways but Fashion Weeks are fundamentally at odds with the urgent need to stop needless consumption and to direct resources to regenerating nature. Humanity cannot afford for London Fashion Week to continue.”

The fashion industry has proven to be an extremely influential factor in society.

As the media highlights current events in the industry, society has continued to respond with sensitivity and a voiced opinion. While the production at London Fashion Week was widespread throughout the media, it is not the only recent demonstration of protest in the industry. During Milan fashion week, a model at a Gucci show walked out on the runway with “Mental health is not Fashion” written in black ink on her hands. The statement was a reaction to a garment designed by Gucci that resembled a straightjacket, proving to be sensitive content. It seems like all eyes have been on the fashion industry lately with all of the recent criticism, leaving us to wonder what the future of the industry will look like. Society has demanded change, and large fashion houses and retailers alike are continuing to adapt to these new circumstances.

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The Reign of Anna Wintour: You Either Know Fashion or You Don’t

By Hannah Boucher

Anna Wintour is the definition of a self-starter; look up “self-starter” in the dictionary, and you’ll find her picture. She is a British-American journalist who has served as editor-in-chief of Vogue since 1988, and artistic director for Condé Nast, Vogue’s publisher, since 2013. With her trademark pageboy bob haircut and dark sunglasses, Wintour has become an important figure in the fashion world, widely praised for her eye for trends and her support for younger designers.

Although there’s no “traditional” path one follows when entering the fashion industry, Wintour has not walked the straight and narrow. “I think my father really decided for me that I should work in fashion,” she recalled. Her father arranged for her first job, which was at the influential Biba boutique when she was 15-years-old.

The next year, she left North London Collegiate and began a training program at Harrods. Against her parent’s wishes, she took fashion classes at a nearby school but soon gave them up, and said, “You either know fashion or you don’t.”

That profound statement was the underlying drive through everything Wintour did. She became the woman they brought in when a magazine was dying, boring, or in need of a change. “I want Vogue to be pacey, sharp, and sexy, I’m not interested in the super-rich or infinitely leisured.

I want our readers to be energetic, executive women, with money of their own and a wide range of interests,” she told the London Daily Telegraph. “There’s a new kind of woman out there,” she told the Evening Standard. “She’s interested in business and

money. She doesn’t have time to shop anymore. She wants to know what and why and where and how.”

Her move by Condé Nast came at a time when its signature fashion publication was at a crossroads. A magazine that had been at the forefront of the fashion world since the early 1960s, Vogue suddenly found itself losing ground to a three-year-old upstart: Elle. Wintour was placed atop the editorial masthead with all the freedom she needed to revitalize the publication.

Wintour demonstrated fearlessness about forging new ground. She decisively called an end to the supermodel era, showcasing a preference for celebrities rather than models on her covers. Wintour was also the first to truly mix low-end fashion items with more expensive pieces in her photo shoots.

Her debut cover in November 1988 included a 19-year-old model outfitted in a pair of $50 jeans and a $10,000 jewel-encrusted t-shirt.

She is notably difficult to work for and insists that her staff always look fashion-forward and rail-thin. A longtime assistant said, “She throws you in the water and you’ll either sink or swim,” to which Wintour responded, “People respond well to people who are sure of what they want,” to 60 Minutes in May 2009. Her reportedly aloof and demanding personality has earned her the nickname “Nuclear Wintour.” In her three-decade reign at the magazine, Wintour more than accomplished her mission, restoring Vogue’s preeminence. In the coming years, we await patiently the emergence of her successor and the possible new era of Vogue they will bring.

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DIRECTORS: Caitlin Madlinger & Caitlyn Daley ASSISTANTS: Isaac Quillet & Makayla Hineman

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Irony; an emphatic concept designed to create interest.

The juxtaposition of space permeated with the vibrance of nature’s sunset against the purity of the modern backdrop.

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OUTFIT CREDITS: Wonsaponatime Vintage Nasty Gal Revolve HAIR STYLING: Wanderlust Salon

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By Jordan Glover Sometimes it’s hard to catch a breath.

Whether you live in a small sleepy town or a bustling metropolis, you cannot escape from the naturally rapid pace of the human experience.

Essentially everything under the sun moves in cycles: an organism’s stages of life, the climate, the seasons, holidays, marketing plans, the moon (no pun intended). With these kinds of cycles comes some sort of plan or preemptive undertaking—we are always thinking about what’s next, and often times forget to focus on the now while too preoccupied preparing.

It’s a slippery slope, because what is considered “the now,” was once the future. It’s important to plan things like saving up for college from a young age or boarding up your house for hurricane season. But we often find ourselves so consumed by the future, that we lose sight of exactly where we are in time, of what we are doing, as if we are running on auto-pilot. At a concert, we document our favorite songs to relive the memories later on and induce nostalgia. But we are experiencing that concert through a lens, which defeats the whole point of attending the show live. It has been scientifically proven that using your cell phone at a concert, or any event, severely affects your recollection, resulting in poor recall due to

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a lack of actively listening.

So many of us waste our youth fantasizing about the future, worrying about where we’ll end up, with who, and for how long. They’re called “the good old days” for a reason, but you won’t see them that way unless you deliberately practice presence, and taking in organic experiences as they come. We always think the future is going to be better, or at least we want it to be better, but then we reflect on the days that have passed that are a lot brighter when viewed in hindsight. This leads me into the toxic construct of the calendar year.

Ah, the New Year’s Resolution.

Everyone knows the routine– gyms are madhouses for the first two weeks of January, and then the crowds subside.

People break their resolutions at the beginning of the year, in an attempt to better themselves, and then give up with the solution to merely try again the next year.

This concept of cycles is so ingrained into our autonomy that we function with the obsession to carry out actions during specific times or else it doesn’t count. Somehow, we believe we will become entirely different people once we change our calendars. If you have a goal, act upon it as soon as you conceive it. There is no time like the present.

In the words of Hilary Duff, “if you lose a moment, you might lose a lot.” Hold onto where you are right now by whichever means you choose: unplugging from your devices, practicing active listening, documenting your experiences through journaling afterwards. You’ll thank yourself later, while enjoying yourself now.

Lauren Rivero

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