Crescent Magazine: Issue 3

Monochromatic: Day and Night

Who to Thank for This Issue Editor in Chief: Sarah Huth Article Editor: Ashley Wilson Photo Editor: Sophia Iqbal Layout: Sarah Huth & Sophia Iqbal with help from Fiona Gallegos & Ashley Wilson Head Stylist: Claudia Grzyb Vice President: Nayely Barcenas Cover Design: Emily Street Treasurer: Evergreen Winters

Cover Shoot Art Director & Fashion Stylist & Set Designer: Zoom Nguyen Model: Oscar J. Almonaci Photographer: Sophia Iqbal Makeup Artist: Mady Brenn Hair Stylist: Audrey Quist Photographers Julieanne Dworkin Sarah Huth Sophia Iqbal Will Kleihege Lindsey Koster Bella Lekas Amber Moinuddin Jim Slife Ashley Wilson

Writers Ava Van Hofwegen

Jane Hynes

Greta Pauplys Models

Oscar J. Almonaci Nayely Barcenas Rykley Braun Raul Garcia Missy Hansen Sarah Huth Brandy Johnson Sara Johnson Sophia Menchaca Yael Navarro Riley Peterson Kaia Pierce Mecca Tarrell Sahar Yusaf

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A Letter From the Editor In short, I’d like to thank everyone who helped out with this issue and everyone who supported the magazine! The magazine would not have been possible without the hard work of so many people. The issue is so beautiful, and I am so incredibly proud of everyone.

The colors, the fashion, and the photography are stunning, and I am glad that people can finally see everyone’s hard work. The board wanted to experiment more with color and what we could do with restraints on the clothing, and the photographers and their teams came up with beautiful compositions and amazing outfits. Again, I am so incredibly proud of everyone who helped out.

I would again like to personally thank the people in my life who have supported me and the magazine. Allie, Madison, Josie, Elena, Nicole, Ashley, and my mom (among others) all have cheered me on and supported the magazine from the beginning and have helped me to stay inspired and motivated to keep going with this passion project. I would also like to thank the board members for collaborating with me and supporting the magazine (even through the rough times).

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Contents Contents Contents Contents Contents Contents Contents Contents Contents Contents Monochromatic: Day and Night

s s s s s s s s s s

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Contents 07

Par t 1: D ay t ime

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Ar t i cl e : Mauve Man i a

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Ar t i cl e : Gre e n As C an B e

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Par t 2: Ni g ht

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Ar t i cl e : Monochromatic Art Piece

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B eh i nd t he C ove r Sho ot Crescent Magazine

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Photographer: Lindsey Koster Model: Nayely Barcenas

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Mauve Mania GRETA PAUPLYS

If you were dyeing fabric in 1855, you would have found the color of your next garment in a plant, insect, or other natural source. Popular dyeing options of the day included laurel leaves for green and elderberries for lavender. Since nature has a limited supply of colorants, people associated color with social class, and you would have often seen the colors of your outfit reflected in those around you. Purple, for instance, set apart the upper class in society because only the wealthy could afford to wear this rare color. Along with a limited supply of dyeing options, the color of your fabric would fade with each moment in the sun or the wash. The process of dyeing fabric and maintaining its hue required considerable skill and effort. You could not have imagined a wardrobe as bright as the tropics in the year before the discovery of mauve, the first synthetic dye.

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“Access to colorful clothing increased, making fashion more universal and vibrant.”

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At the time of the first synthetic dye’s invention,

wore the color to her daughter’s wedding. Though

science relied on trial-and-error. An 18-year-old

once an exclusive color for royalty, purple became

William Henry Perkin was experimenting with

a trend by the end of the decade with the option to

the synthesis of quinine to create an inexpensive

purchase a synthetic purple dye at a much cheaper

treatment for malaria. Upon cleaning his beakers

price. Many would flaunt the shade from head to

with alcohol, he found that his failed experiment

toe. Others, however, hesitated in using synthetic

turned into a deep purple solution. Perkin called

dyes because they believed it destroyed the art

this substance “mauveine.” He was in his third year

in dyeing. Professional dyers had carried out a

of studying chemistry at what is now a part of the

special cultural role since the earliest civilizations.

Imperial College London, but with his interests in

As synthetic dyes became more popular, many

painting and photography, he left to pursue further

craftspeople who had previously conservative views

research on dye colors. The number of synthetic

about synthetic dyes allowed the new dyeing style

dyes multiplied as a result of the work of Perkin

to expand their palettes.

and others who joined the effort. Access to colorful

Today, synthetic dyes rule the dyeing industry

clothing increased, making fashion more universal

and provide more than ten thousand color options

and vibrant.

in fashion. These synthetic colors make all the

This revolution in dyeing first spread across

difference in an outfit. We now have an extensive

the fashion capitals of Paris and London before

selection of colors to choose from to express

reaching America. In 1858, Queen Victoria attracted

our moods, the seasons, and how we want to

the public’s attention towards mauve when she

show up in the world. We mix and match colors

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MAVUE MANIA

with the joy of creating something new. While synthetic dyes provide such opportunities, they also contain harsh toxins that harm the dyer and

Greta Pauplys

the environment if improperly handled. These issues are highly prevalent in fast fashion. In recent years, researchers have begun developing ways to make the synthetic dyeing process more sustainable. Some consumers have returned to only using naturally dyed items to reduce the industry’s impact. Mauve changed the world in more ways than one, but its greatest impact can be felt in the number of options available to people who wear color.

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Photographer/Model/Stylist: Ashley Wilson Crescent Magazine

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Photographer: Sophia Iqbal Model: Mecca Tarrell

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As Can

Green

Be

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GREEN AS CAN BE

By Jane Hynes

An abundance of green freckled branches of blooming

bitterly cold. Birds fly to warmer spaces, and we move

trees when all is new and warm. In the summer, we

inside near fireplaces. The abundance of green that once

are filled with wonder and awe as green surrounds our

freckled and beamed is now tired and worn; green sleeps

sights. Growing green grasses greet our feet, glistening

under blankets of white snow. Everything is dormant.

beneath the lingering sun. The bugs and birds bring

For a while, it may seem that the green will disappear

beauty and balance to the nature they help transform.

forever, that we will never escape the cold and grey. But

There is a certain serenity that green brings, the calm

the ice and snow will soon melt and leave in its wake the

that comes before unpredictable falls and harsh winters.

green that is ready to grow again. Spring will bring rain

Violets and roses and tulips of many colors stand out

that washes away snow. New seeds will take root and

against a backdrop of green. Life is blooming all around

become new again.

us.

Whether you find yourself renewed in the warmth of

In Autumn, shades of green start to wean, as trees cry

green, or stuck under mounds of snow, the leaves will

warm-colored leaves that fall beneath our feet. Branches

soon be brushed away, the snow will melt, the seeds will

that before had stood tall and green frown under the

once again be planted, and the green will always grow.

weight of the snow, as if they are mourning the loss of their green. Bright flowers slowly wither away, leaving few traces of green. The days become shorter and grow

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Photographer: Julieanne Dworkin Models: Raul Garcia, Brandy Johnson, Sophia Menchaca, Yael Navarro, Sahar Yusaf Stylist: Julieanne Dworkin, Jordan, & Raul Garcia

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Photographer: Bella Lekas Models: Sara Johnson, Sophia Menchaca, Yael Narravo Styling by: Bella Lekas

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Photographer: Jim Slife Model: Kaia Pierce

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Art Institute Monochromatic Piece: American Windows by Marc Chagall

AVA VAN HOFWEGEN

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The “American Windows” a work of art that some

Chagall’s mosaics titled “The Four Seasons” in

consider to be Marc Chagall’s most influential

1974 and finally “American Windows”. Both were

painting on stained glass windows ever. Now

highly praised and are still admired today by

they are shown in the renowned Art Institute of

many.

Chicago, ever since they were gifted by Chagall

With Chagall’s impressive use of color, mainly a

himself in honor of America’s bicentennial in 1976.

vibrant blue, it stands out in the museum. The

It is stated at the Institute that the inspiration

light through the windows allows the colors to

for these windows was Pablo Picasso’s sculpture

pop out even more. The majority of the painting

that is located at the Richard J. Daley Center.

uses a bright blue giving it a monochromatic look.

This sculpture was influential to the beginning

However, when giving the panels a closer look,

of modern art during the 20th century. To some,

you can see how many details are hidden within

these works of art were considered controversial

the color. The different pieces are supposed to

as they strayed from the past art that was popular

represent art forms across America. Having it be

at the time. This also eventually led to one of

so abstract allows the true meaning

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Photographer: Will Kleihege Models: Kaia Pierce & Rykley Braun

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Background Photo by Julissa Santana on Unsplash Crescent Magazine

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Photographer: Julieanne Dworkin Model: Sophia Menchaca Stylist: Jordan

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Photographer: Amber Moinuddin Models: Missy Hansen & Riley Peterson Makeup Artist: Loni Lustig

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Behind the C

My name is Zoom, I’m almost 21. I am a fashion stylist and just an artist overall, and I’m very excited for this cover shoot for Crescent Magazine.

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Cover Shoot Sarah -Can you explain the set?

Zoom - Yes. So this set, it revolves around the idea of this imagined reality, this dystopian reality, it’s the reality that I have that all of my artwork so far has been a part of and it’s called XENOVERSE. My piece that was featured on this cover shoot is the portal, and XENOSETTEE which is the sofa that you can see. So, the idea is that this is a very dystopian reality, very distorted, dark, evil, and we wanna keep this shoot monochromatic, that’s why the outfit is all white, but it also serves the idea that the model is like a light of hope that comes out of the portal. Basically this shoot is called reincarnation because it’s like a rebirth of something that’s so dark, a rebirth of something that’s hopeful, that’s lightful, out of something that’s so dark and twisted. So, it just like symbolizes hope, and like change.

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Sarah - Can you explain the styling for the shoot?

Zoom - Yes. I was trying to go for like a very alien look in a way, so, all monochrome obviously, all white, and all in very like big pieces of like cuts and stuff like that. The top is um Dion Lee, which is a very modern and innovative brand that usually makes their clothes having cuts and like very modernized in a way.

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It’s a tight top, because people on shuttles in outer space probably wear tight all the time. The pants are tight, it’s from ERL. The shoes are from Raf Simons, which just give out this very space suit vibe, very futuristic. Themakeup, we really want to turn Oscar, the model, into this very alienesque creature, because obviously it comes from this very dystopian reality, and it’s outer space. It’s not from this world.

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We really want long hair because we want to show that the creature that Oscar represents, it’s almost like ancient you know, like having long hair it’s a process, first of all, and kind of symbolizes the fact that he’s very ancient, so that’s the idea of the outfit.

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Another thanks to the amazing team behind this shoot!

Art Director/Stylist/Set Designer: Zoom Nguyen Hair Stylist: Audrey Quist Makeup Artist: Mady Brenn Model: Oscar J. Almonaci Photographer: Sophia Iqbal

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