Crescent Magazine Issue 4-- Escapism Part 1: Reality

CRESCENT

FA L L 2 0 2 2 / I S S U E 4

E S C A P I S M PA R T 1 : R E A L I T Y

THANK YOU THANK YOU THANK YOU MEMBERS Board

SARAH HUTH OLIVIA SNODDY ASHLEY WILSON SOPHIA IQBAL

Photographers, Models, Writers ADAM RY K L E Y B R A U N BELLA LEKAS CASSIDY MAMULA OLIVIA SNODDY ALICE TOLKIN FRIEDA VON HUENE ASHLEY WILSON

Cover

ART DIRECTOR: MAC DETERT PHOTOGRAPHER: KELSEY KURZ H A I R / M A K E U P : A U D R E Y Q U I S T & K E VA I L E W I S S T Y L I S T: I S I S G I L E S - J O R D A N M O D E L S : K E VA I L E W I S & YA E L N AVA R R O

Graphic Design

ELLA GUTENSTEIN

T h a n k Yo u F r o m t h e E d i t o r This issue Escapism Part 1: Reality is beautifully made, and the magazine would not look half as good if it were not for the dedication of the members and board. Through a lot of brainstorming and collaboration, each photoshoot c a m e o u t b e t t e r t h a n w e c o u l d h a v e i m a g i n e d . O v e r t h e p a s t y e a r, w e h a v e grown so much as an organization, and there are so many people to thank for that.

Many thanks to Jen Finstrom. She has been here since the beginning and has counseled the board. She has given her positivity and encouragement that has made the magazine possible.

Many thanks to Olivia Snoddy for stepping up when I needed the most help in M a y. S h e i s s u c h a n a m a z i n g a d d i t i o n t o t h e b o a r d , a n d I a m e x c i t e d t o s e e w h a t w e c o m e u p w i t h t h i s u p c o m i n g y e a r.

Many thanks to Ashley Wilson for taking on random roles that needed to be filled.

M a n y t h a n k s t o E l l a G u t e n s t e i n f o r j o i n i n g t h e t e a m a s o u r g r a p h i c d e s i g n e r.

She is so talented, and you can see the love she has for graphic design in everything she puts out for the magazine.

L a s t l y, m a n y, m a n y t h a n k s t o t h e m e m b e r s w h o c a m e t o e v e r y m e e t i n g t h i s p a s t s p r i n g q u a r t e r. T h e c l u b b e c a m e q u i t e s m a l l a t t h e e n d , b u t e v e r y s i n g l e m e m b e r b r o u g h t e n t h u s i a s m , g r e a t i d e a s , a n d f a n t a s t i c , p o s i t i v e e n e r g y.

LOVE & LOSS

C O N T 01.

A L I E N AT I O N

PHOTOGRAPHER: CASSIDY MAMULA MODELS: FRIEDA VON HUENE & ADAM WORDS: ASHLEY WILSON & RINA

02.

PHOTOGRAPHER: ALICE TOLKIN M O D E L S : F R I E D A V O N H U E N E & RY K L E Y BRAUN WORDS: OLIVIA SNODDY

REMEDY

E N T S 03.

COVER

PHOTOGRAPHERS AND MODELS: BELLA LEKAS & CASSIDY MAMULA WORDS: ANON

04.

ART DIRECTOR: MAC DETERT PHOTOGRAPHER: KELSEY KURZ HAIR: AUDREY QUIST M A K E U P : A U D R E Y Q U I S T & K E VA I L E W I S S T Y L I S T: I S I S G I L E S - J O R D A N M O D E L S : K E VA I L E W I S & YA E L N AVA R R O

Na igating an relationship is romantic relations particularly convolute that there are different s and the goal of this phot visualization of how a brea es are filled with infatuation the warm tones in the cloth wears off eventually, and th relationship changes to a mo up cycle, things continue t of photos show the distanc through the cooler tones i cal distance between the is like a funeral for the ties know that their the neutrals repres and loss of

avny kind of s difficult, but ships can become ed. Everyone knows stages of relationships, to shoot was to create a akup goes. The first stagn and lust–represented by hing. The honeymoon stage he once love and lust filled ore relaxed one. In a breakto cool off. The second set ce that the couple is facing in clothing and the physie models. The final stage relationship. Both parrelationship is over, senting the death f their love.

YOU HAVE BLURRED THE LINES BETWEEN EVERYTHING AND NOTHING, BETWEEN LOVE AND JUST SOMETHING. ONE SECOND I AM FALLING ON MY KNEES, BEGGING YOU TO STAY. THE NEXT, ITS AS IF THE ENTIRE WORLD EXISTS AS SEEN THROUGH THE ROSE COLORED GLASSES OF THE PERSON I WAS BEFORE. I’M TIRED OF MISMATCHED MANNERS, OF YOUR ANGER WHERE I ONLY HAVE LOVE. OF BEING SOMETHING TO YOU, WHEN YOU ARE EVERYTHING TO ME. AND NOW, I CHOOSE THE NOTHING.

T

rends naturally transform and recycle through time. We’ve recently seen the shift from the tight bedazzled Y2K tops and Miss Me jeans to 90s baggy Levi jeans and UNIF cardigans.

But as social media has grown in popularity, there has been an increased participation in fashion trends, and in turn trends have unnaturally sped up and imploded. However, there are certain trends that can become so integral to fashion that Androgyny is an unbiased way for an individual to identify with one’s self and fashion is the perfect medium to achieve this transcend the label of “trend”, and are forever incorporated into the fashion world.

Androgynous fashion can often be explained by blurring the lines of feminine and masculine silhouettes in order to create a more genderless fit. Androgynous fashion can be traced back to the 17th century, and is heavily influenced by Japanese fashion. It became increasingly more popular in the U.S. during the Industrial Revolution, when fashion statement pieces were traded in for clothing that was convenient and functionable in the work environment. As women became more integrated in the workplace, they began to wear traditionally male work clothing to prevent workplace accidents. Women then fully adopted pants into their daily clothing rotation. Famous social movements such as the women’s liberation movement and LGBTQ+ movements have directly influenced fashion and helped push an androgynous style of dressing. As society progresses, so does the perception of fashion.

Throughout history, dressing androgynously was often considered a form of rebellion. As time has progressed, androgynous clothing has become an integral part of fashion, but people still suffer harassment for not sticking to gendered stereotypes in fashion. Many famous designers, like Issey Miyake and Charles Jeffrey Loverboy, are committed to making iconic androgynous pieces and silhouettes. Celebrities like David Bowie, Prince, and Grace Jones have all embraced and publicly praised androgynous dressing. As Yohji Yamamoto said, “Androgyny is an unbiased way for an individual to identify with one’s self, and fashion is the perfect medium to achieve this.”

FALL 2022

FA LL

REA L ITY

REMEDY Weed. Pot. Mary Jane. Hash. Grass.

Gas. Cannabis! How many other fun little sobriquets can you think of for nature’s favorite plant? There is a widespread cultural appreciation for that little green goblin, and I am no exception. My love affair with weed began when I was 14 years old, fresh out of middle school. I smoked irregularly, and then regularly, throughout high school. At the time, it was a fun way to connect with myself, my friends, music, and art. It gave me crippling anxiety sometimes, but I persevered.

College meant more freedom (more ability to smoke). Within weeks, I began to smoke every day, which turned into multiple times a day, which turned into all day. I loved it! I could always have this happy, warm, funny feeling, yet still be “functional” enough to get (most) of what I needed done. But, of course, not all that glitters is gold. It wasn’t much longer until I realized I had gotten stuck.

I couldn’t stop smoking, even when I tried. It began to control my days, and I sat along passively for the ride.

R EA LI TY ES C AP I S M:

There is no real redemption in this s it “manages my anxiety”, or “helps m make excuses for days. Weed (prob the dean’s list, socialize, exercise, an authenticity. I don’t really remember I miss who I was. The line between

story. I won’t lecture you about how my depression”. Realistically, I could bably) won’t ruin your life. I still make nd work. But, it can strip you of your my old life anymore. Yet sometimes, fantasy and reality is ever-thinning.

IS S UE

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E S C A P I S M

CONCEPT The concept for the shoot was kind of loose, it was just drawing from the look and feel of the set which was very airy and dreamlike. In essence, it was meant to look like the models were characters inside a dream. The slide projector also added a sort of memory aspect to it, so the shoot as a whole also became a sort of physical manifestation of the subconscious processes of both dream and memory.

FA LL

E S C A P I S M

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R E A L I T Y

Interview with the Art Director

I built the set by first setting up a sort of “skeleton” made of yarn that was attached to the tops of the windows in my living room so that I could hang things up and utilize the tall ceilings. Then I used various textiles like sheer scarves, lace curtains, and embroidered tablecloths and I attached them to the skeleton with safety pins so that they were layered to create depth.

The safety pins also allowed me to shift the layers around/ switch them with other textiles/ and just generally switch up the set as we were doing the photoshoot. After this structure was made I set up 2 projectors (one normal one, one slide projector) and positioned them towards the set to create various abstract shapes and colors and to put interesting light and shadow on the models.

Challenges?

As far as challenges, I think that because the concept was looser so there was a bit of anxiety before the shoot of how parts would fit together, but once everyone was on set things flowed super smoothly and everyone worked together so well! It was a lot of fun.