FAST at UCLA 2020-21 Spring Magazine by fastatucla

FA ST

AT UCLA CELEBRATING CULTURES, ENVIRONMENT, AND MORE

UCLA STUDENT TALENT DIVERSITY IN DESIGNS

LIFE IN THE FAST LANE

SUMMER 2021

Photographed by:Magie Le Modeled By: Chizaram Iwuanyanwu

MAGAZINE CONTRIBUTORS EDITOR IN CHIEF

EXECUTIVE EDITORS

Hope Pham Marissa Shankar

Grace Constable, Executive Editor Nicolina Duhs, Executive Editor

CREATIVE

FEATURED WRITERS

Lisa Steward, Director Antonia Sanchez Alyssa Vu Denali Perera Laudan Hosseini Nicole Anticona Yua Watanabe

Cassidy Sollazzo Riley Kubaska Nicole Tan Sandra Ocampo Ashley Leung Ali Wood Charlotte Chen

PHOTOGRAPHERS

MODELS

Magie Le, Director Akshita Saxena Ben Johnson Emily Tran Kayla Campbell Melinda Chang

Meghan He, Director Angela Souriel, Director Queena Chu Anotida Chuma Kelly Ha Chizaram Iwuanyanwu Kristi Li Emily Lu Tiffany Lu Andrew Luff Soraya Saghbini Nicole Anticona

TA B L E O F C O N E N T S

Exploring Asian Culture

Appropriation in the Fashion Industry By: Charlotte Chen

01 Letter From Exec

Why Billonaires Dress Simply

02 Editorial Photos

Why Fashion Caters to Thin People

04 08 11

FAST From The Past JINS

Grace Constable

BLO G ARTICLE S 12

The Mugler SS21 Show:

Business Attire in the ZOOM World of Remote Work

#AwardShowsSoWhite

By: Sandra Ocampo

By: Riley Kubaska

30 FAST Designers 35 Gallery 41

Spring Showcase Credit

The Hoax of Clean:

All Members

By: Ali Wood

FAST Sponsors

Promising Potential for the Future of Fashion By: Cassidy Sollazo

Even Though Most People Aren’t Size 0-2 By: Nicole Tan

Lashes Of Luxury Ali Wood

By: Ashley Leung

Why The Clean Beauty Industry Is Not All That It’s Cracked Up To Be

2 0 2 0 - 2 0 2 1 FA S T M A G A Z I N E

FAST EXEC RILEY

ISABELLA

LISA MARISSA

ISABEL

LETTER FROM THE EDITORS Summer is the time to celebrate the culmination of all the creative work we accomplished this year! At this time every year, we look forward to spotlighting our talented members and everyone who contributed to the magazine, the Showcase, newsletter, and so many of the new FAST projects. We recognize that remote collaboration posed a unique challenge to our team, but our members demonstrated incredible innovation. In addition to the club’s resilience, we are proud of the direction FAST has taken to promote social justice, the environment, and culture.

MEGHAN

HOPE GRACE L.

ANGELA

We are also extremely grateful for your support of FASTatUCLA’s first year as a fully digital club. Thank you for following our endeavors and joining discussions with industry professionals, club organizers, and members from our own community. We hope that you will continue to follow FASTatUCLA’s growth as continuing members or alumni. As you relax during this school break, we encourage you to browse our most recent edition of the FASTatUCLA magazine or rewatch the Designer Showcase video on our YouTube channel!

Stay healthy and safe, FASTatUCLA Editors 1

GRACE C.

FISH EYE

Photographed By: Magie Le Modeled By: Amelia Thomas

Photographed By: Kayla Campbell Modeled By: George Vetushko

FAST FROM THE PAST

2018

2009

2019 2015

2017

2020

Modeled By: Yua Watanabe Photographed By: Ben Johnson 6

THE PAST

FAST FROM

FAST ARCHIVE

JINS EYEWEAR TRANSFORMING THE WAY WE SEE THE WORLD BY GRACE CONSTABLE

If you’re in the market for new glasses, look no further than JINS Eyewear. From eyeglasses to sunglasses to blue light glasses, JINS has it all. Interested in how it works? It’s easy! Your first pair of JINS glasses starts at $60, and the best part is that your first order comes with a free pair of le n s e s . A l l of t h e i r l e n s e s h a ve s p e c i a l t y features, including an t i - g l a re tec hnolog y and U V c u t s. T h ey al s o offer a variety of thin lens options with prism correction, as well as prescription, polarized, photochromic, an d p e r fo rmance lens es .

A d igital space for buy ing glasses makes the process much more accessible, but I bet you’re wondering, how am I supposed to buy glasses online when I can’t t r y them on? L uckily, JINS has the solution: their user friendly website allows

With free shipping, free thirty day returns, and vision insurance reimbursement, JINS prioritizes the customer experience. W h et h e r yo u ’ re lo o kin g fo r t re n d y, fashionable sunglasses or a new p air of re ade r s, JIN S w ill make t h e e n t ire p ro ce ss as e asy as p o ssib le. An d if t h e o n lin e p ro ce ss isn ’ t yo u r speed, no worries! You can pop into any one of their six locations in both L A o r San Fran c isco ( b u t c h e c k t h e we b sit e t o make su re yo u sc h e d u le an ap p o in t me n t b efo re h an d ) .

JINS has pretty much everything going for it, but if you still aren’t yet co nv in ce d t h at J I N S s h o u ld b e yo u r new go-to eyeglass destination, here is one more pro: 100% of all JIN S co llab o rati o n ca s e s a le s g o to lo ca l n o n p rof i t s . C a s e s fo r C a u s e s is JINS’s pledge to making the world a better place. When you buy a collaboration case (only $5!), 100% of t h e p ro ce e ds of th a t s a le wi l l g o to the corresponding non profit. Wi t h s eve n c a s e s a n d f o u n d a t i o n s t o c h o o se f ro m , we s h o u ld a p p l a u d JINS’s effort to transform the p ro ce ss of le n s s a le s .

you to virtually try on any of their 1,800 styles by digitally fitting their frames to your face. And don’t worry- you don’t need to download any special soft ware to u t ilize this awesome tool- this work s on any com p u t e r !

LASHES OF boom, the topping of the cake.” They complete the look and make her feel even more beautiful. “Every woman deserves to be beautiful,” Melissa says, and her way of fulfilling that statement to the world is through her lashes. Her statement about every woman’s right to feel beautiful was touched upon as we discussed how to make the beauty community a more inclusive place. Melissa challenged the industry “to be more open and accepting,” as there are so many walks of life that deserved to be seen, raising the issue of inclusivity that cannot be ignored. Melissa Chinyelu Digwo is not your average recent college graduate. While preparing for the MCAT and completing all the other tasks of a young adult, she is also the CEO of the flourishing company, Lashes of Luxury. Many may wonder how this future doctor stumbled into the beauty industry. The birth of her company was in response to the hefty cost of luxury mink lashes. Seeing those prices and wanting to make that same glam lash statement more affordable, Melissa decided to take matters into her own hands and jumped into the lash business. With the power of YouTube and practice, she created lashes that many wanted to buy. As for the trajectory of her affordable lash business, Melissa merely thought it was going to be a side hustle that would generate a handful of orders from her friends. Little did she know that her idea would spark a thriving website generating orders from people way outside her inner circle of friends.

When asked why she was so passionate and interested in lashes, Melissa explained that lashes are “the ending, the

So what’s next for this blossoming company and the future of lashes? Melissa isn’t entirely sure but is opened to all possibilities. She loves that the business gives her an outlet from STEM and would love to see the business grow. Regarding the future of lashes, “just continue making trends,” Melissa says. From color to half lashes and even 25 mm length, Melissa expressed how she enjoys the creativity people embody. Plus, trends allow people in the business like herself to keep developing the craft. With her positive attitude and savvy for commerce, there is no doubt that Melissa will be contributing to this ever-growing community and making her defining mark on the beauty world for years to come.

LUXURY

Modeled by: Queena Chu Photographed By: Akshita Saxena

Why Fashion Caters To Thin People

Currently, the reemergence of the Y2K aesthetic and the craze around the model-offduty look has made being thin almost synonymous with having style. Many people have pointed out the double standard between thin and larger people regarding how they dress. If a thin person is wearing athleisure or long denim shorts and a t-shirt, they are praised as a style icon, and their outfit is labeled as effortless and cool. However, if a more curvy individual wore the same thing, their outfit is often labeled as lazy, ugly, and gross. The general

(Even Though Most People Aren’t Size 0 2) BY NICOLE TAN Fashion has the power to make us feel strong, powerful, safe, and beautiful. So, it’s not a coincidence that the fashion industry is tied to our beauty standards. Chief amongst the very limiting, harmful, and eurocentric beauty standards of our society is to be thin. It is no secret that thin bodies are considered the most ideal and beautiful body type. All we have to do is turn on the TV or scroll through social media to see skinny girls being praised for their style, elegance, and beauty. The connection between fashion and the value we place on being thin is why the industry continues catering to thin people even though most people do not have that body type. Those who aren’t a size 0-2 are underrepresented in the industry especially in campaigns and size-inclusivity. While there has been significant progress in normalizing body inclusivity in fashion thanks to trailblazers like Ashley Graham, Paloma Elsesser, and Tess Holliday, the industry is still dominated by and made for thin people. Due to the value society places on being thin, plussize individuals are often discriminated against and ignored in the fashion industry. Many brands are extremely slow to include models of various sizes in their campaigns and shows, and some brands don’t even carry plus-size clothing. Additionally, the lack of size-adaptable clothing pressures us to maintain the same size or force us to buy new clothes when our bodies inevitably change. The lack of body diversity in the industry and the barriers larger

public often deems something stylish by how conventionally beautiful it is, whether that be by our facial features, skin color, or body type. The idealization of thin bodies and equating that with style and elegance make the fashion industry continue to cater towards thin people.

Backstage model line up at Burberry A/W 15. No plus-size models included.

people face to having access to cute and trendy clothing are all rooted in our society’s negative attitudes towards larger individuals. The constant idealization and pressure to be thin have skewed our perception of what and who is stylish, creating a strong link between fashion and a person’s figure. We see this connection through the evolution of trends and idealized body types throughout history. As a response against constricting corsets, the stick-straight flapper silhouette popularized in the 1920s made less curvy figures the ideal body type. By the 1950s, curves were back in style thanks to icons like Marilyn Monroe and Sophia Loren, which brought back renditions of the corset in fashion. In the 1960s, style icons like Twiggy, Pattie Boyd, and Jean Shrimpton paved the way for mini skirts and crop tops and ushered in the supermodel era. The 1980s broad-shouldered silhouette brought in the sexy, small waist all-American girl look, and the 90s kept skinny bodies reigning supreme with the heroin-chic style.

Since a young age, we have all been indoctrinated by the media to fall in line with beauty standards, and the industry uses this to its advantage. The images produced by fashion magazines, brands, and influencers exude beauty, glamour, and elegance fueling our insecurities and desire to fit into this socially constructed standard of perfection. By tying material goods and their brand to abstract values like beauty, consumers begin to associate their desire to fit in with specific styles and designers. Brands put girls with a “perfect body” in their clothes to make us believe that we should want those items since this beautiful girl is wearing these clothes. Fashion marketing compels us to buy into certain brands and trends. Making fashion only for skinny people is a way to keep the industry exclusive, and, unfortunately, thin girls continue to dominate the fashion industry. Gigi Hadid in the same exact outfit as the tweet above, but this time, it is “effortless and cool”.

The Hoax of Clean: Why The Clean Beauty Industry Is Not All That It’s Cracked Up To Be BY: ALI WOOD

Sodium Lauryl Sulphate (SLS). Parabens. Benzones. These complex sounding chemicals should sound frightening even to the average person who isn’t aware of the actual functions of these chemicals. It is scary to trust that the products in your favorite beauty products will not end up damaging or further irritating your skin. People like transparency, and they want to be aware. Enter the clean beauty industry, dedicated to promoting transparency in their products by only sourcing natural ingredients.

Photo from Women’s Health of The Ordinary, popular skin care higly reliant on science

On the surface, clean beauty seems like the future of the beauty industry. From the promotion of transparency to big makeup chains like Sephora promoting cosmetic products with their “clean” seal of approval, every sign seems to be pointing towards the clean beauty revolution. Brands like Kosas, Milk Makeup, and Goop have become all the rage online with their online launches selling out in minutes.

But behind the seemingly ethical intentions and the growing popularity, the clean beauty industry has created a growing issue when it comes to the conversation surrounding beauty products. The issue is not transparency. The issue lies in the fact that many clean beauty companies and products are profiting off of the demonization of science with many people drawing comparisons to the anti-vax movement. The main argument of the clean beauty community seems to be that chemicals in excess are harmful and damaging to the skin, but the reality is that any ingredient in excess is bad. From water to ascorbic acid (aka vitamin C), too much of anything is never good. In addition, selling natural products that do not contain chemical preservatives is ultimately bad for the consumers. If the product’s function diminishes before it hits the shelves, then that is a

disservice to the customers. Clean beauty also seems to come with the assumption that deriving ingredients from natural sources is more ethical. However, this notion is very much false. Popular natural ingredients, like Argan oil, are so overly consumed and saturated that Argan trees are at risk of becoming extinct. This is not to say that natural ingredients are awful and consumers should rush back to smearing unknown chemicals on their faces. There are many natural ingredients like bee venom, green tea, and lavender that are great for the skin. And with the right chemical pairing, they can make a lasting impression on your beauty routine. The balance between science and nature is essential for the sustainability of beauty products. And though it is easy to be frightened by the complex names, just remember that the science supports your beauty needs. 15

EXPLORING ASIAN CULTURE APPROPRIATION IN THE FASHION INDUSTRY

BY CHARLOTTE CHEN

Photographed By: Akshita Saxena Modeled By: Queena Chu

May is Asian Pacific Heritage Month, and with the recent rise in hate crimes against Asian Americans, it is especially pertinent to understand and celebrate the rich history and culture of Asians, as well as recognize their contributions to the fashion industry.

Asians as well as the blatant disregard for honoring the true origins and heritage behind traditional Asian clothing. This poses the question - when is it acceptable to use Asian culture in fashion?

In the past decade or so, with the influx of Asian culture into American mass media- such as the popularization of K-pop from South Korea and boba tea from Taiwan- there has been a rise in interest in Asian lifestyle and society, particularly Asian fashion. It’s not hard to see why; fashion in Asian countries is often alluring and intricate, incorporating various designs inspired by religion and heritage. Therefore, while this doesn’t make it acceptable, it’s not a surprise that fast fashion brands hope to capitalize on the increased interest and demand for Asian traditions including traditional clothing. PrettyLittleThing, for example, released a collection with the band LittleMix that heavily mimicked the aesthetic of Chinese traditional clothing such as the qipao. Not only did they label many of the designs and prints as ‘oriental’, a term considered offensive and derogatory for Asians, but they also heavily altered the traditional style of the Chinese dresses by selling them as heavily cropped tops and skirt sets. Additionally, they plastered the ‘oriental’ print over westernized outfits, such as bustier dresses. While some did not see an issue with the collection, many pointed to a larger issue at hand - the fetishization and sexualition of Asian women. As we’ve seen with the recent Atlanta shootings, these contribute towards the violence and disparaging of

Traditional Chinese qipao, characterized by “Mandarin collar and Chinese knotted buttons”, made from a “jacquard brocade fabric” (Image from eastmeetsdress.com)

PrettyLittleThing X Little Mix November 2019 Collection (Image from PrettyLittleThing)

That’s not to say that Asian culture can’t be appreciated. However, there is a fine line between appreciation and appropriation that is too often crossed with little regard for the consequences. Wearing traditional Asian clothing as a Halloween costume or a prom dress as a non-Asian, for example, is a clear form of cultural appropriation. Reducing the significance and meaning behind Asian fashion to a mere ‘costume’ without honoring their historical and cultural significance paints a false image of Asian tradition and disrespects the importance of Asian fashion to Asian people. Additionally, assuming the identities of those who bear the right to wear such Asian fashion due to their heritage exacerbates the discrimination Asian people face daily simply for their race without giving back to the community they are profitting off of. Asians can’t simply ‘take off’ their identity at the end of the day. Cultural appreciation, however, involves recognition, understanding and acceptance of Asian culture, as well as attempts to expand and deepen one’s knowledge of Asian culture.

WHY BILLIONAIRES DRESS SIMPLY BY ASHLEY LEUNG Seeing a middle-aged man walk down the street in a gray sweater and jeans, would you do a double-take and think, “Oh! A celebrity? A tycoon?” Probably not. We usually think of fashion as a form of self-expression, and fashion is certainly a common way for materialistically successful people to show off their wealth and power. Fashion is also a way to feel rich, powerful, and alluring—even if they aren’t necessarily so in the public eye. Therefore, when we see Steve Jobs launching Apple products in a black turtleneck and blue jeans, Mark Zuckerberg giving speeches in a plain gray t-shirt, Bill Gates flashing around a $48 Casio wristwatch, we start to see a surprising pattern among some of the wealthiest individuals in the U.S. and the world: many of them prefer to dress simply.

how Jobs pulled off his self-selected uniform.

As if there needs to be more coverage on men in the top 0.01% income bracket, this article will delve into why some male billionaires and multi-millionaires don’t choose to embellish themselves with lavish, custom-made suits and limited edition accessories like we often expect the rich to do.

Forbes

Oxford languages defines cultural appropriation as “the unacknowledged or inappropriate adoption of the customs, practices, ideas, etc. of one people or society by members of another and typically more dominant people or society”. The Cambridge Dictionary defines it as “the act of taking or using things from a culture that is not your own, especially without showing that you understand or respect this culture”. We therefore see that when brands and designers outright copy and steal traditional Asian fashion designs without honoring and respecting the origins behind them, this highlights a lack of respect for Asian culture and therefore Asian people. Furthermore, by labelling any designs as “Asian” or “Oriental” without taking the time to differentiate between the various fashion styles from different Asian countries, this paints Asia as a monolith and contributes towards the ignorance and hatred against Asian Americans.

Steve Jobs, the late co-founder of Apple, was nearly always in his black turtlenecks, blue Levi’s 501 jeans, and New Balance sneakers. His black turtleneck shirts were custom-made for him by Japanese fashion designer Issey Miyake. Jobs initially proposed to his staff to wear a work uniform by the same designer, but his workers adamantly rejected the idea. Desiring a work uniform for himself, he personally reached out to Miyake for these shirts. Miyake made more than 100 sweaters for Jobs, and they were what Jobs wore for the rest of his life. Miyake released a similar product years after Jobs’ death, and while some changes were made to the original design, this new product is still a nice reminiscence of

Mark Zuckerberg (pictured next to his wife Priscilla Chan), the co-founder of Facebook, has his own daily style: gray t-shirt, dark denim, and Nike sneakers. His gray shirts are specially ordered from Brunello Cucinelli, an Italian luxury fashion brand. Just like Steve Jobs, Zuckerberg has a wardrobe filled with the same shirt. Occasionally, he’ll wear a dark hoodie or a navy blue crewneck sweater. Bill Gates, the co-founder of Microsoft, also dresses in plain button-down shirts and sweaters, but attention has been drawn to his surprisingly affordable watch. Gates wears a simple Casio Sports watch that costs about $48. Watches,

just like jewelry, are a common accessory people (especially businessmen) splurge on. Choosing to wear an everyman’s watch reflects Gates’ unwillingness to overspend on clothes and jewelry. Although these billionaires’ outfits appear mundane, they aren’t necessarily cheap. For example, Jobs’ black turtlenecks cost around $175, and Zuckerberg’s gray t-shirts cost around $300-400. The average spender might gawk at

Scott Olson / Getty Images Clive Brunskill / Getty Images these price tags for something that looks like its dupe could easily be found at Walmart or Target. However, these clothes are typically custommade and produced with high-quality material and stitching. Compared to how much these billionaires earn, they spend a significantly smaller percentage of their earnings on fashion. As for why these people choose to dress simply, the consensual reason is that they tend to view these mundane decisions (e.g., meal plans, outfits, etc.) as frivolous and time-consuming. Bill Gates simply doesn’t like to overspend on apparel, Mark Zuckerberg wants to make as few decisions as possible so that he can dedicate his time to benefiting the community, and Steve Jobs liked having a simple, signature look that people can remember him by. With such influential businesses and colossal amounts of wealth, these billionaires have much bigger decisions (e.g., politics, investments, innovations). Former President Barack Obama once mentioned that he doesn’t want to decide what he’s eating or wearing

because he has too many other decisions to make. Their wealth is also way beyond what we usually designate as “wealthy,” so they have perhaps already reached such a high level that comfort matters much more than impressing others. Seeing the ironic concept of the rich dressing like they’re poor and the poor dressing like they’re rich, some would argue that being thrifty is precisely how these economically successful people achieved such success. However, these wealthy people’s choices don’t dictate that you must give up your fashion style or expression just to appear more sophisticated. Fashion may seem frivolous to some, but it is meaningful to others. If you feel stressed by choosing daily outfits, you might benefit from minimizing your wardrobe variety and focusing on other things that are more significant to you. If you love the process of selecting jewelry and assembling outfits, then by all means, do that! Big decisions or small decisions, they all affect our quality of life and happiness, so if they don’t feel frivolous to you, they aren’t frivolous.

ANIMAL PRINTS Photographed By: Magie Le Modeled By: Queena Chu

The Mugler SS21 Show: Promising Potential for the Future of Fashion BY CASSIDY SOLLAZZO

The Mugler SS21 show e n com p a sse d t he p romi s ing potential for the future of fa s h i o n . H u n t e r S c h a e f e r. Wa l k i n g down a runway. In headto-toe sparkle. Getting drenched in water. In r e v e r s e . Tw o m o n t h s , a g o t h a t m a y h a ve j u s t s o u n de d like the plot of a Euphorainspired fever dream, but now almost everyone can p i c t u re t h a t exa c t i m a g e i n t h ei r h e a d . If you’re confused, I’m referring to Part 2 of the Mugler Spring Summer show, w h i c h de s e r ve d l y b ro ke t h e i n t er net u p o n i ts releas e on t h e l ast d ay of Marc h. Designed by creative di recto r C a sey Cad wal lader, the collection stunned ever yo n e w i t h i ts f ut uris t ic , geometric designs being worn by a star-studded cast. Above all else, the s h o w wa s s h o w n i n a s ev e n a n d a h a l f m i n u te long video released on the company’s Instagram. Directed by To r s o S o l u t i o n s , t h e s h o w s e e m i n g l y b r o ke a l l r u n wa y rules and conventions: models broke out into

dance, did backflips onto t h e r u n wa y, a n d we re m u c h more animated than what you would see in person. The video format also allowed for cinematographic and editing libert ies to be taken , so t h e audience got to see all of the looks from different came ra angles and in assorted lighting com bination s. The show is permanently accessible for rewatch on Mugler ’s Instagram and Yo uTu b e c h a n n e l , a l l o w i n g for further analysis and m o re i n - de pt h a p p re c i a t i o n f o r t h e p i e ce s . M u g l e r a l s o released the collection for i m m e d i a t e p u rc h a s e, a s t h e instant gratification from the see-now-buy-now model has com e to encomp ass o u r internet-based society. So, if you saw B ella Hadid ro c kin g a sheer glitter body su it , yo u c a n g o t o M u g l e r ’ s we b s i t e a n d p u rc h a s e s a i d b o d y s u i t directly. Much of the collection is made of recycled Lycra, with architectural lines throughout many pieces that frame the models’ bodies. The various cut outs and sharp lines are combined with mesh and sparkle in the most wonderful way, showing how the pieces look as if they were specifically m ade for each of the mo de ls wearing them. Along with the variety of tight bodycons, t h e co l l e c t i o n a l s o i n c l u d e s stark, wide frame blazers t h a t f e a t u re s h a r p t a i l o r i n g with broad shoulders and cinched waists. Cadwallader

t o l d i - D t h a t t h i s j u x t a p o s i t i o n wa s intentional to show the different fo r ms of sexy t h at exist . H e wan t e d t o sh ow t h at ove r size d masc u lin e as well as feminine bodycon bring their ow n fo r ms of allu re t o t h e t ab le. T h e sh ow was an o p e n ce le b rat io n of all different kinds of beauty. Cadwallader said the pieces were made out of extremely stretchy mesh shapewear intended to fit all bodies, a n d h e u s e d h i s ca s t i n co n j u n ct i o n with the pieces to show the different ways everyone can define what it me an s t o b e b e au t if u l. T h e cast of t h is sh ow was any t h in g but ordinary. It included model r o ya l t y s u c h a s A l e k We k , S o o J o o Park, and Irina Shayk, but also cultural figures like actress Dominique Jackson, artist Kembra Pfahler, a n d w r i t e r a n d a c t i v i s t Pa t i a B o r j a . Oh, and throw in Hunter Schaefer a n d B e l l a H a d i d f o r g o o d m e a s u r e. The cast featured a roster of all g e n d e r s , ra ce s , a n d s i z e s , s h ow i n g t h at Mu g le r is n ot ju st fo r o n e kin d of person. Referring to his models, C a d a wa l l e r t o l d i - D “ . . .t h ey ’ re f u l l y realized, they ’re empathetic, they ’re mindful, and that’s really where I s e e b e a u t y. ” E v e r y o n e i n t h e s h o w is beautiful because they were g ive n u n re lin q u ish e d f re e do m t o b e t h e mse lve s. The Mugler show brings to life every piece of potential the fa s h i o n i n d u s t r y h a s fo r t h e f u t u re. Cadwallader combines the digital fo r m a t a n d t h e g ra t i f y i n g s e e - n owb u y- n ow mo de l w it h an e mp owe r in g v iew o n b e au t y, g iv in g t h e vo ice s of this generation a platform. The show signifies a move toward accessibility on all fronts, knocking down the elitist walls the industr y had built up around itself, and it challenges other de sig n e r s t o fo llow su it . 23

Modeled By: Meghan He

Business Attire In The Zoom World Of Remote Work BY SANDRA OCAMPO What should I wear? This question has surged with the increase in remote work. Knowing what to wear at a Zoom conference is a puzzle we are all aiming to solve. If the global pandemic has taught us well, it is that our responses must change with the new normal. As we sit in hourlong meetings from the comfort of our home, we must ask ourselves, “Is this the best way to represent myself?” More often than not, the answer is no. We often take “from the comfort of our own home” too seriously. But guess what? You’re not alone. In a physical, office setting, it doesn’t feel like you are under a microscope. However, Zoom has allowed our colleagues and peers to assess our appearance in even greater detail though the frame only captures the upper half of our bodies. According to The New York Times, “People who have managed to stay employed during the pandemic will confess to owning a Zoom Shirt: a top, typically kept on the back of the computer chair or a hanger nearby, that they pop on in the moments before their webcam lights up.” Remaining in our gym shorts or PJs throughout the workday is something Jordan Soltch from MiKado Personal Styling says decreases productivity. “Your mind subconsciously associates formal clothing with going to work, which strongly correlates with confidence and efficiency,” Soltch said. If you are looking to change your Zoom persona, here

are some ways to remain comfortable while being classy. Cardigans. Cardigans. Cardigans. Add a cardigan over a simple blouse to go for the casual yet cool professional look. For sleeveless blouses, a cardigan can come in handy between meetings since you can easily remove it. Additionally, cardigans provide warmth and comfort while looking sharp, especially for those chilly morning work calls with your boss. A touch of jewelry adds a noticeable layer of elegance. Throwing on a knit sweater or a plain blouse can appear too casual, so try adding accessories. I love a bold necklace or drop earrings to create an illusion of ambitious sophistication. Layered clothing adds dimension like a sweater over your favorite collared shirt to add some flare to your professional look. Put on that blazer that has been at the back of your closet for a year. We have all

been there and ripped that jacket off as soon as we clocked out. While working from home makes it difficult to work long hours in constricting clothing, wearing a blazer over a plain T-shirt gives your appearance, and comfort, a balance. Lastly, an oversized sweater paired with a dainty hair accessory acts as the finishing touch to looking and feeling put together. Professionality is all about letting your personality shine while remaining elegant. To finalize and review your look, open your computer camera to visualize your entire presentation. Make sure to declutter your background to present a pristine image and avoid detracting from your well-styled outfit. Dressing up for virtual work calls has many benefits. The feeling of getting ready for team meetings can decrease the Zoom fatigue we are all too familiar with, and it can communicate to our colleagues our readiness and value in looking and feeling professional.

#AWARD SHOWS SOWHITE

In 2016, for the second year in a row, all twenty of the Oscar’s acting nominations were given to White actors, sparking the #OscarsSoWhite movement. This criticism for the Academy Awards’ shameful lack of inclusivity attracted worldwide attention, bringing audiences everywhere to question why the Oscars are so racially skewed. Rewriting the narrative in an industry so entrenched with disparities is no easy task. Racism at the Oscars is nothing new. Among the 336 Oscars for acting awarded over the ceremony’s lifetime, actors of color account for about only 9% of overall wins. So now I invite you to think: in the five years since #OscarsSoWhite appeared, how much has really changed? There are certain questions that we need to ask. First, can the lack of diversity at the Oscars be traced back to the lack of diversity in the Academy itself? In 2016, the Academy membership was overwhelmingly 93% White and 75% male. While there has been

some progress, membership today is still 84% White and 68% male. In viewing the history of nominations through their lens, the heavy majority of White males in the Academy may explain why we see the statistics that we do. It’s fairly simple: Hollywood remains an old White boy’s club that alienates women and People of Color (POC). Knowing this, let’s now observe how the vast majority of Black actresses who have been awarded acting nominations played women dealing with trauma: women who were enslaved, women in abject poverty, or women who were subservient to others. What is the significance of Lupita Nyongo winning for her performance in 12 Years a Slave but receiving no recognition for masterfully playing, not one, but two characters in Jordan Peele’s Us? What does it mean that just last year, Cynthia Erivo was the only person of color nominated in the acting categories for her portrayal of Harriet Tubman in Kasi Lemmons’ Harriet? In order to make systemic change, we

BY: RILEY KUBASKA

#OscarsSoWhite encompasses all traditionally underrepresented communities and draws attention to the lack of representation in Hollywood, leading audiences to also understand that this lack of diversity bleeds across industries. With increasing awareness, all eyes turned to the Grammys in questioning whether its award recipients are as exclusive as the Oscars. Lupita Nyong’o accepts the Best Supporting Actress award for 12 Years a Slave Photo by Kevin Winter/ Getty Images

must seek to understand these patterns and question why POC are disproportionately denied awards. This exclusion at the Oscars extends beyond the Black community: there have only been four Latinx winners in the acting categories and only five actors of Asian descent throughout the cermony’s history. Rami Malek is the only person of Arab descent to have won an Oscar.

In short, the answer is yes. Diversity among Grammy winners is strikingly abysmal, especially seen in the continual loss of Black artists in the Album of the Year category. In 2013, Mumford and Sons beat Frank Ocean. The following year, Daft Punk beat Kendrick Lamar. The year after, Beck beat Beyonce, then Kendrick Lamar fell once again to Taylor Swift, and in 2017, Adele’s 25 beat Beyonce’s Lemonade. This pattern of snubs prevails year after year and continues today, indicating a much deeper racial issue. Specifically in 2017, Adele swept all three major categories that Beyonce and herself were nominated

in while Beyonce was awarded “Best Urban Contemporary Album”- evidencing how monumental albums of Black culture go overlooked in favor of pop phenomena. History informs us that Black artists have been relegated to minor awards in categories reserved for “urban” artists while the night’s top prizes are saved for White artists. Looking back to the Oscars - since 2016, we have seen a broader range of stories being celebrated: Moonlight winning best picture in 2017, Spike Lee’s recognition for BlacKkKlansman in 2019, Parasite winning best picture in 2020, and most recently, Chloe Zhao’s monumental Best Director win for Nomadland. While this is symptomatic of incremental change, we still have a long way to go. #OscarsSoWhite and #GrammysSoWhite are alarm bells. While things are not going to turn around overnight, we can continue to ignite progress and inspire structural change by supporting a myriad of stories. We just have to continue asking the right questions.

Adele breaks her Album of the Year Grammy in half to give to Beyonce. Photo by Kevin Winter/ Getty Images for NARAS

SUMMER Photographer By: Emily Tran Modeled By: Queena Chu 28

LOOKS Photographer By: Emily Tran Modeled By: Soraya Saghbini

DESIGNER

SOFIA CHANG “SHLEGG’S WORLD” Pacific Grove, CA 2nd Year Art Major

I was inspired by the stuffed animals and toys of my childhood for this collection. I’ve always loved the playfulness that stuffed toys bring, and I think they’re really ageless. I attempted to recreate parts of my past by incorporating patchwork, funky pops of color, and motifs. My pieces represent the lens I use to look into my a completely different experience, having developed the knowledge to understand that the world isn’t always what it seems.

FAST SPRING DESIGNERS

BISOLA AMUDIPE “BABE MEETS NOLLYWOOD” San Bernadino, CA 1st Year Business-Economics Major

Hi, my name is Bisola Amudipe and I’m from San Bernardino, Ca. As a first year Pre- Business Econ major, I always had a passion for Fashion and creating my own business centered primarily on Nigerian fashion. My collection, “Babe meets Nollywood,” draws inspiration from Y2K nostalgia and Nollywood. Growing up in a Nigerian household/culture, I’ve watched endless Nollywood films, but now with this new trend of Y2K, comes the era of low rise jeans, crop/halter tops, mini skirts and small purses, and the list continues. However, what I noticed about the Nollywood films were how these beautiful Black women epitomized beauty, but eluded this confidence of looking good for your own self!

2021 36

SPOTLIGHT

DESIGNER SPOTLIGHT SABRINA COSTA “GIARDINO DI FIORI” Pleasant Beach, NJ 3rd Year Biology Major

My line was inspired by the colorfulness and variety of shapes and textures of flowers. Each piece in my line is a different color and represents a different flower. I tried to emphasize these various textures of flowers by using fabrics of all different textures and patterns. The name of my line means flower garden in Italian and essentially when someone sees my line I want them to feel like they are walking through a flower garden.

MARISSA SHANKAR ROXANNE OHAYON “Garden of Eve” “Celestial Garden”

CHIZARAM IWAUANYANWU “ISEKAI”

San Francisco, CA 4th Year Dance Major

It is with great joy that I present to you my collection: Motherland. I live in Southern California (LA county) but was born in Nigeria, the country of inspiration for my line. Motherland is a vibrant line whose theme is Nigeria Meets Modern Fashion. This idea is inspired by my need to showcase Africa in a more positive light and highlight the vibrancy found teeming throughout the continent. Each design was made of traditional Nigerian fabric and made to look like my culture, reimagined.

Jakarta, Indonesia 4th year Business-Economics Major Gilroy, CA 4th Year Microbiology, Immunology, and Molecular Genetics Major

HOPE PHAM “COME BACK HOME 21” Temecula, CA Fourth Year Political Science Major

I love to design gowns that are luxurious and fantastical. In this collection, I experimented with many different fabrics and techniques to uniquely shape each outfit. The silhouettes embody the volume of 10 yard long ruffles and the straight line of the slender áo dài. Both shapes incorporated my desire for comfort which are emphasized in the fabric selection of velvet, satin, cotton, and chiffon. There are light and dark fabrics in solid colors and prints. Moreover, the collection is simultaneously playful and sophisticated. Elements such as precisely embellished pearls on a sweetheart neckline mimics a classic pearl necklace on a LBD while scattered pearls on flowing cream satin imitates the portrait of an exposed oyster.

We were inspired by the aesthetics and discoveries of the Italian Renaissance period: a deep awareness and appreciation of nature, the celestial worlds, and an exploration of individuality. We also drew inspiration from impressionist art and its romanticization of nature with its bright colors and vivid landscapes. We wanted our collection to embody these dreamy and other-wordly aesthetics in a way that embraces the divine feminine in a modern way.

CAROLINE HERSMAN Bethesa, MD 2nd Year Psychobiology Major

This collection was inspired by my mom and has a heavy 90s influence (taking inspiration from shows like Buffy the Vampire Slayer, Felicity, Charmed, and Friends). It also draws on east-coast/ New England style from the summers I spent in Maine with my family growing up. With this line, I wanted to capture that transition period in your 20s when you’re reaching the end of your college career (maybe you just got your first dog) and feel like you can’t dress like a teenager anymore, but the idea of being a full blown adult still completely terrifies you and you don’t quite know where you fit in. This collection is a reminder that it’s okay to be lost in your 20s, it’s okay to not know who you are or what you want, and it’s okay to just have fun, not everything you do has to change the world.

LAURYN ILASCO “PLAYING DRESS UP”

Photographed By: Magie Le Modeled By: Queena Chu

Vallejo, CA First Year Undeclared Major

This collection was inspired by my mom and has a heavy 90s influence (taking inspiration from shows like Buffy the Vampire Slayer, Felicity, Charmed, and Friends). It also draws on east-coast/New England style from the summers I spent in Maine with my family growing up. With this line, I wanted to capture that transition period in your 20s when you’re reaching the end of your college career (maybe you just got your first dog) and feel like you can’t dress like a teenager anymore, but the idea of being a full blown adult still completely terrifies you and you don’t quite know where you fit in. This collection is a reminder that it’s okay to be lost in your 20s, it’s okay to not know who you are or what you want, and it’s okay to just have fun, not everything you do has to change the world.

SUCHITA KUMAR “BLEACHED” Bangalore, India 4th Year Physiological Science

Climate change is at the forefront of global news. But while we hear about rising temperatures, melting ice caps and natural disasters, it is not often that we hear about the disappearing gardens at the bottom of the ocean. Corals, with their vibrant colors and varied textures and shapes, are the epitome of marine beauty and abundance. Moreover, they are vital parts of every aquatic ecosystem – acting as a habitat and nursing ground for a multitude of fish species. However, rising ocean temperatures have caused the algae, that inhabit coral reefs, to be expelled – leaving the reefs white, or “bleached”, and dying. The death of these reefs disrupts the entire marine environment, as fish are left without a home and without food. I wanted my line to document the bleaching process and raise awareness of the pressing need for coral reef conservation.

ANIMAL PRINT

36 Photographed By: Emily Tran Modeled By: Soraya Saghbini

SUMMER VACATION

Photographed By: Magie Le Modeled By: Queena Chu

REFLECTIONS

Photographed By: Kayla Campbell Modeled By: Nicole Anticona

FISH EYE Photographed By: Akshita Saxena Modeled By: Amelia Thomas

Y2K SHOOT 38

40 Photographed By: Magie Le Modeled By: Amelia Thomas

SHOWCASE CREDITS FILM

Isabel Spooner Martinez (Director) Bella Piccini Katie Modzelewski Roxy Raad Xiomara Novo

DESIGN

Suchita Kumar (Director) Bisola Amudipe Caroline Hersman Chizaram Iwuanyanwu Lauryn Ilasco Marissa Shankar+Roxanne Ohayon Nicholas Chu Sabrina Costa Sofia Chang Hope Pham

MODELING

Megan He (Director) Angela Sourial (Director) Ali Wood Amelia Thomas Andrew Luff Anna Lockhart Anotida(Ano) Chuma Caroline Conwill Charlotte Chen Chizaram Iwuanyanwu Christabel Odoi Cole Summerfelt Dove Lopez Emily Lu Emmanuel Demian Gargi Kawachale George Vetushko Grace Giordano Heulwen Leung Iqra Irfan Isabella Navarro Justin Shue Kelly Ha

EDITORIAL

BLOG

Grace Constable (Directors) Nicolina Duhs (Directors) Riley Kubaska Cassidy Sollazzo Sandra Ocampo Nicole Tan Ashley Leung Charlotte Chen Ali Wood

SPONSORSHIP Grace Li (Director) Sam Drucker Eliza Aiken Emily Park Saeley Dorsey

PUBLIC RELATIONS Kristi Le Mallory Springstead Marisol Salazar Maya Peterson Megan Ngal Megan Xiao Meili Zhang Mia Fong Mona Qrib Niamh Kim Nicole Anticona Arauja Queena Chu Rohin Sharma Roxanna (Roxy) Raad Soraya Saghbini Terri Tang Tiffany Lu Ty Koslowski Tyler Law Yasmine Talby Yua Watanabe

Isabella Mattina (Directors) Emma Dickerson Laudan Hosseni Tiffany Liang Sherry Tang Megan Xiao Maggie Pan

MARKETING

Riley Hammond (Director) Katelyn Su Brianna Rose Hewitt Andrew Luff Pritesh Patel Nicole Kfoury

PRODUCTION COMMITTEE Hector Esperanza(Director) Bisola Amudpie Jieun Seo Anna Lockhart Sydney Schwinger Alexa Cyr Kristi Le Tawny Fu

Magie Le (Director) Akshita Saxena Ben Johnson Emily Tran Kayla Campbell Magie Le Marissa Shankar Melinda Chang

EVENTS

CREATIVE

FINANCE

Lisa Sumiko Steward (Director) Laudan Hosseini Yua Watanabe Denali Perera Antonia Sanchez Alyssa Vu

Hannah Sacker (Director) Angel Moore Becca Bloomer Esther Blum Serene Cherif Mook Teeraniti

Michael Canabarro (Director) Shay Joshi Karinn Murdock Jenna Liu Tanmyaa Gupta Riddhi Sood Stacy Kim

Bisola Amudipe

Nicole Anticona

Becca Bloomer

Esther Blum

Iqra Irfan

Chizaram Iwuanyanwu

Gargi Kawachale

Nicole Kfoury

Charlotte Chen

Queena Chu

Ano Chuma

Sabrina Costa

Riley Kubaska

Kristi Le

Ashley Leung

Pritesh Patel

Alexa LeeCyr

Sam Drucker

Hon Fu

Kelly Ha

Tiffany Lu

Emily Lu

Andrew Luff

Xiomara Novo

Laudan Hosseini

Lauryn Ilasco

Roxanne Ohayon

Denali Perera

Maya Peterson

Brianna RoseHewitt

Soraya Saghbini

Emily Park

Marisol Salazar

Antonia Sanchez

Akshita Saxena

Sydney Schwinger

Jieun Seo

Robin Sharma

Cassidy Sollazzo

Riddhi Sood

Mallory Springstead

Katelyn Su

Nicole Tan

Sherry Tang

Amelia Thomas

Emily Tran

George Vetushko

Yua Watanbe

Ali Wood

Megan Xiao

Meili Zhang

THANK YOU TO OUR SPONSORS JINS EYEWEAR

LASHES OF LUXURY

SKINESQUE

PRISM