Golden Magazine Issue 5: Revival

TABLE CONT ENTS

SEASONAL DEPRESSION

FASHION & STUDENT LIFE

TET SHOW

DRESSING FOR THE MALE GAZE

TABLE OF CONT ENTS 08 76 42 EXIST

ARE THE 2010S TRULY COMING BACK?

(RE)DISCOVERING YOUR STYLE

THE ART OF CURATING

LILAH’S JOURNEY OF SELFDISCOVERY

COMPASS

THE END, BUT NOT THE ENDING THE MEANING BEHIND A ROOM THE EVER EVOLVING MN FASHION WEEK

FROM OLD TO NEW PAPARAZZI SHOOT

My time in college has undoubtedly been the most transformative period of my life, which is a sentiment that many other students can likely relate to. As a senior on the brink of graduation, I’m filled with nostalgia and gratitude, eagerly anticipating the release of this issue and looking forward to the future that awaits Golden. Interestingly enough, my journey through college has mirrored that of Golden Magazine—we are both concluding our fourth year and reflecting on our growth and evolution over time.

Letter from the editor

From the start, our team sought to embody the core values that have shaped Golden since its inception: connecting, inspiring, and showcasing the creativity community on our campus and across the Twin Cities. Consequently, we began to explore how Golden has evolved over time, and the theme of revival naturally emerged.

The concept of revival serves as a testament to Golden’s ongoing transformation, bridging the passion of our original co-founders with the aspirations of our future visionaries. Altogether, our staff undertook the creation of Issue 05 with a sense of vigor, passion, and enthusiasm. In this issue, revival is explored in three stages: existing, evolving, and emerging.

As you continue reading, we hope you encounter a candid reflection of the college experience—as we navigate our paths, gain our footing, and emerge as more authentic versions of ourselves. Hunt and Gather welcome us into their space, sharing insights on the art of curating and shopping secondhand in an age of mass consumerism. Board members of Compass illuminate the experiences of being a queer business student. The trailblazers behind Fashion Week Minnesota discuss its significant evolution over the past eight years.

We hope that these stories inspire you to explore the diverse ways in which individuals and communities continually redefine and rediscover themselves. Although living in the moment, embarking on the path of self-discovery, and embracing the freedom of self-expression can be daunting, this journey allows the spirit of revival to flourish.

Here’s to spring, to new opportunities, and to fresh beginnings. Here’s to who you are now and to the person you will become.

EXIST

The essence of revival lies in the simple act of being. The first section of Golden Issue 5 delves into the many beginnings of life and the art of living in the present moment. Looking through the perspective of the college experience, ‘Exist’ sheds light on the start of the journey and navigation through the many unknowns of life, including who you are. Turn the page to embark on an experience of self-discovery and expression.

exist as you are.

PHOTO

S EASONAL DEPRESSION: thesigns,symptoms and

By: Jada Sandvall

Dorms and dining halls, football games and frat parties and so much more encapsulate the rush of serotonin of what is known as the “freshman year experience”. For most, the first semester of freshman year is typically the one that feels surreal. Students say goodbye to their parents in exchange for “the college” experience and newfound freedom. In this first

month, friend groups fluctuate, choices are made, and overall, students learn how to do everything on their own.

However, once the adrenaline begins to wear off, many find that within the combination of a new environment and a drastic change in weather comes a shift in motivation and emotions. According to Mayo Clinic, Seasonal Affective Disorder (SAD) is a type of depression “directly related to the changes in seasons.”

solutions

When dealing with SAD, individuals can experience a wide variety of symptoms. These are not limited to frequently feeling down, losing interest in activities, lack of energy, difficulty concentrating and much more, which accumulates in various ways. When experiencing these changes, students may see themselves lacking motivation which could result in a pile of missing assignments and dropping grades.

“Class becomes more difficult for me to attend, and I don’t have as much motivation as when it’s sunny out or the walk to class is better,” said senior Julia Stephenson. “I also am just more sensitive in

general, like things tend to upset me easier than they would before.”

For me personally, I definitely noticed a drastic difference in the fluctuation of my emotions throughout my freshman year. While being on my own has been exciting and has allowed me to have more independence, it also allows more room for me to slip out of my routine without noticing. Especially during the colder months, finding motivation to go to the dining hall or take showers is notably more difficult. On another note, being away from home can feel very lonely. As an only child, my family and I have a very strong bond, so being away from them is emotionally taxing in its own way.

Over time, I have begun to set more goals for myself in hopes to form a routine, accomplish more and find the things that matter to me. Throughout the colder months, I have found that taking one day of my week to have a full reset and do

something I love is very beneficial. This allows me to set more time aside to ensure I am focusing this time on taking care of myself.

Here at the University of Minnesota, Boynton Health provides useful services which are available to all

enrolled students. Some services include, group therapy, psychiatry services, solution focused therapy (SoFT) and more that are used by students every day. When enrolled at the U, you are granted one free session with one of Boyton’s 30 plus mental health specialized employees per month. These services are useful for all students year round as you go along through the college journey.

On their website it states, “Whether you’ve been dealing with a mental health diagnosis for a while or are just struggling with being away from home for the first time, we’re here to help you navigate the changes that college brings.”

Along with Boynton’s plethora of services, both McGrath Library (St. Paul) and Walter Library (East Bank) have individualized light therapy stations. These are free for all students to use, and are

you are.

reservable using the University library study space website. Light therapy is a technique used to expose individuals to a bright light that mimics natural sunlight. This in turn helps with the lack of sunlight and warmth produced in the warmer months.

On the other hand, other effective treatments can be as simple as a balanced diet, regular exercise or spending time with loved ones. While it may be impossible to avoid for some, there are various strategies that make these months pass by much quicker.

“I try to incorporate a lot more self-care into my routines,” said senior Caroline Wolfe. “I feel like just taking care of my body definitely makes a difference.”

However, these recurring feelings don’t simply appear because someone has entered college. Every year, this unique type of depression invades aspects of individual’s lives of all demographics. As the winter months arise, it is vital to recognize these symptoms and how they alter daily living. Seasonal depression should not be dismissed as a “slump” or “winter blues”, but instead be taken seriously and prioritized. Whether you personally are struggling or someone around you, there is no cost in being kind and supporting others every month of the year.

Living in Minnesota, our winters are notorious for being some of the worst. The combination of harsh weather and academic pressure can take a significant toll on mental well-being. Although it may only be a few months a year, it is not something to overlook. During these frigid months, seasonal depression often surfaces, casting a heavy shadow over many students’ mental health. Especially when dealing with it in a new environment, such as college, learning to adapt and “exist” with an added burden can make life feel extremely gray.

To visually illustrate this idea, a team of Golden members and models went up to Duluth, MN during gloomy mid-October. Here, they were able to snap shots that painted the picture of the muted feelings one feels in these cold winter months. By using mirrors, Lake Superior and flowy clothing, the photos conveyed the sense of loneliness and isolation that are common with seasonal depression.

Being the first shoot of the issue, there were several unknowns but so much creativity was flow-

ing. During planning, one of the creative directors Greta Foster curated a Pinterest inspo board, which helped guide the shoot itself. However, Aaron Kruse, one of the photography team leads, was still able to make it unique to ensure the message was being conveyed.

“Having a fun team was really helpful in making the shoot successful and enjoyable, especially given the weather,” said Kruse. “Greta and Bella gave a lot of creative freedom to Randall and me, but provided a nice safety net in case we got stuck.”

However, the shoot presented its challenges, especially the frigid conditions of Lake Superior in October. Kruse along with the rest of the team ensured that the models that they were shooting that day were in the best interest.

“We had some shots we wanted to get in the lake, so to prioritize safety we made sure to do those at the end and for a very small amount of time, as long as the models were comfortable with it,” said Kruse.

This shoot, while smaller, had an extremely important meaning. Seasonal depression, alongside depression in general, affects numerous students daily. College life brings unique challenges that can contribute to these struggles which makes existing just a little tougher. It’s essential to recognize that these issues are not isolated experiences but shared by many, and together, we can work towards creating a more supportive and inclusive environment for all.

DULUTH SHOOT

Student

Student Life

Fashion and student life

By: Gabby Tanghe

exploring the intersection of at the university of minnesota

Each fall, new students step onto the University of Minnesota campus for the very first time, prepared to begin their college journey. Each individual’s experience here is accompanied by the countless opportunities that lay at their fingertips; campus clubs, popular hangout spots, gamedays, each contributing to what they make of their journey here. There’s no right or wrong way to experience these opportunities. As well as the choices we make in who our community becomes, our style choices can play a large role in contributing to our personality developments throughout our college journey.

These two facets of college life contribute to our uniqueness, and looking back upon how we change and grow as people during this time can be entertaining at the very least, and truly fascinating at best. It’s easy to become absorbed in

one’s own journey at the University of Minnesota, but by looking back on how the school has changed over the years and understanding how students who came before us contributed to the organizations that are a part of that journey, the value placed on personal experiences can be made that much stronger.

Campus clubs serve as great resources for students who are looking for community connections. According to the University of Minnesota website, the school boasts over 1,000 clubs, each of which offers a unique path for students. University student Niranjan Nayak is involved in a variety of student organizations intended to create community, including the Society for Asian Student Engineers (SES) and the Business Association for Multicultural students (BAM).

“I think these groups are about promoting communities for mi-

norities to strengthen their communities here on campus. A lot of us don’t have large communities to rely upon - a lot of our families are overseas.” Nayak explained. “I feel like a lot of the people I’ve met here are very down to earth... they’re really supportive of one another, and just want to see each other succeed.” Not only do campus clubs successfully create a sense of community for students, they also have historically contributed to major social changes both on campus and beyond. One example that is intrinsic to the foundation of our campus today is the Equal Suffrage Club that began to appear in University records around 1912. Students pushing for equal rights and social change are intertwined in the history of our campus, which still holds true in terms of what students value today.

Suffragette fashion is a pivotal example of how fashion can be used to send a message. Fashion curator Durdona Gaibova explains that by deliberately refusing to wear constricting garments that followed beauty standards of that time period, women associated with this movement sent a very specific message pushing social change. Other movements throughout history follow the same concept. The Black Pride movement beginning in the 1960s highlighted the fashion associated with traditional African styles, bringing them into American culture to celebrate them - according to the Fashion Institute of Technology. By dressing a certain way that breaks boundaries, conversations are sparked, promoting social movements and exposing what is possible within fashion as a creative outlet.

“The choices that you make when picking out an outfit on a daily basis can represent the message you want to send out to the world”

As a student-led fashion magazine, everyone involved has experienced first-hand the community that is developed through University organizations as well as the impact that fashion can have in developing connections. The students interviewed for this particular article are all models for this issue of Golden, and are interested in both fashion as a form of communication and as an art form.

The choices that you make when picking out an outfit on a daily basis can represent the message that you want to send out to the world. As described by Nora Vuong: “I am my personal style, and I feel like fashion really tells you who a person is.” On a larger scale, the change of personal style throughout one’s college experience is a clear visual representation of the growth and change that occurs during an indi-

vidual’s time here. Viewing clothing as a form of communication, signaling to those around us whatever message we wish to get across, is a creative way of defining our college journey. Being able to visualize the changes that occur in the fashion choices you make is intrinsically valuable.

Alix Schlegelmilch, a junior, acknowledges the changes that occurred in her personal style throughout her three years here. “I feel like as I get a little bit older and a little more confident, I can show more of my personality through my clothes, rather than using them to kind of just fit in.”

Like Alix, many students go through similar style journeys as they gain confidence and observe the fashion that is visible here on campus.

The university’s diverse student population offers exposure to one of a kind styles that can serve as a source of inspiration among students, revealing the art of personal expression through fashion. “Just being here, and interacting with people, seeing different styles that people have has given me a lot of inspiration for things I can adopt, and take into account - see how it works for myself,” said Niranjan.

For those who are interested in exploring historical changes and the messages associated with different fashion movements, the Goldstein Museum located on the St. Paul campus is truly a hidden gem of a resource. The museum is home to thousands of pieces of historical clothing, and it’s available for stu-

dents to explore during their various exhibits located in McNeal Hall throughout the year.

By viewing historical dress as a form of communication, revealing what kind of social norms are acceptable at different times throughout history, we can connect further to those who were living through those times. By looking at historical fashion, it’s easier to see the similarities; to comprehend that these people were just like us, promoting and protecting the same values many of us hold today. In looking to the future, it will be undoubtedly fascinating to see what our generation’s lasting impact will be, both on fashion as well as our community.

In college, the party scene is one that is hard to stray away from, especially in the Twin Cities. Parties offer a unique social outlet, bringing together diverse atmospheres and people unlike any other social gathering. On February 24th, Golden members were invited to a party at a staff member’s house for a special photoshoot. However, this shoot wasn’t just about capturing a typical party atmosphere; it was about showcasing the connection among Golden members. Golden consists of over 80 members divided into nine teams. Although we all work together to create this magazine, there are few occasions where interaction with the rest of the cohort is possible.

“It can be really easy to be focused on what you and your team are doing, not hear about what others are doing to make an impact in Golden,” said production lead Alexa Yung.

Compared to other shoots where more teams are involved and there are more moving parts, this shoot was much more natural. The “models” for this shoot were all Golden members which added to the authenticity of the party.

“I think everyone added to the positive outcome of the shoot. There was good energy, and everyone was happy and having a good time,” said photography lead Aaron Kruse. “I think the photographers present made the exercise of taking photos easy and accessible for everyone. There was not the vibe that this was a serious “shoot”, but more a gathering of friends.”

When you’re learning to “exist” in college, you experience the good, the bad, and the ugly. Yet, this particular shoot highlights the joy of discovering a community within a larger group of people. It reminds us that college doesn’t have to be just about getting a degree; it’s about finding “your people” and embracing the simple pleasure of “existing”.

Golden Party Shoot

Tết Show by the Vietnamese Student Association of Minnesota

By: Varsha Venkatesh

Minnesota has become home for many immigrants and refugees over the years, including those from Latin America, East Africa, and Southeast Asia. One of the most prominent communities in Minneapolis and at the University of Minnesota is the Vietnamese community. The Vietnamese Student Association of Minnesota (VSAM) fosters connection and discussion through its family program, educational events and open forums to discuss Vietnamese and Vietnamese-American issues. VSAM provides a space for Vietnamese students to engage in their cultural traditions and holidays within a community setting.

Tết Nguyên Đán (colloquially known as Tết), the Vietnamese Lunar New Year, is the most important holiday in Vietnamese culture. Although there are many traditions surrounding Tết, some of the most common ones include spending time with family, wearing new clothes and receiving red envelopes from elders. For Vietnamese students at the University of Minnesota, the lunar new year brings one more tradition: the Tết Show.

The Tết Show has been a longstanding tradition at the University of Minnesota, put on yearly by VSAM for over 40 years. It aims to showcase Tết traditions through various performances, including a skit, singing, dancing, and fashion. With eight committees, 20 coordinators, and 181 volunteers, Tết Show is, above all else, a community effort. UMN students and alumni set aside time in their already busy schedules to organize the event from start to finish. With the show on February 3, practices start in October, while planning for the various projects, committees, and performances starts even earlier.

Many of the performances in the Tết Show center around music and dance. Some students choose to sing live, while

others participate in organized dance groups. Traditional dances on showcase this year include fans, parasols, and partner dances, as well as the lion dance (múa lân), a staple of many East Asian new year celebrations. Vietnamese pop, or V-pop, is the focus of most of the modern dance numbers, though Vietnamese rap will be a new addition to the 2024 show. There is a long, rich history of music and dance in Vietnam, but above all, it is a force that builds community. “Music and dance has always been something that brings people together,” Isabel Smith, traditional and modern dance volunteer, remarks. Even if the performances are unfamiliar to some audience members, “the easiest element to connect to people who don’t understand Vietnamese culture is music,” head coordinator Tina Son adds.

Just as its participants have lived a blend of Vietnamese and American cultures, the Tết Show is a uniquely Vietnamese-American event. Many traditional components of the holiday have to be adapted for the location and audience. “A lot of things are just not feasible to do [in Minnesota],” head coordinator Bach Tran reflects, “like having a whole festival that’s outside in February.” Instead, the event is held in Northrop Auditorium at the University of Minnesota, making it more accessible to the student population. The Tết Show also embraces its multicultural roots through showcasing both traditional and globalized aspects of Vietnamese culture across many domains, including music, dance, and fashion. “The Vietnamese people here are just as American as they are Vietnamese,” Smith states. People from many different backgrounds also participate in the Tết Show, particularly Vietnamese, Chinese, Korean, and multiracial students. In this way, the Tết Show reflects the diverse groups of people who celebrate the lunar new year and acts as an inclusive space for students to participate in their culture. Smith reflects, “Being half Vietnamese… I wasn’t sure how I was going to be perceived, but I’ve

been completely accepted without any question and that’s been really nice.”

This year, the theme for the Tết Show is “Once Upon a Time,” created by performance and skit coordinators Julie Van and Kathleen Phan. The theme aims to help performers and audience members reconnect with their Vietnamese culture through mythology and folktales. Though previous shows have showcased Vietnamese traditions, “we’ve never really gotten the chance to educate,” Son remarks, “so I’m hoping for the audience members to really just learn about Tết.” The theme also works to connect the older generation of Vietnamese-Americans with the younger generation, who may be less familiar with these stories. “I thought [“Once Upon a Time”] was a super cool theme because that’s one of the things I didn’t really grow up with” Smith reflects. In this way, the Tết Show plays multiple roles: it strengthens the Vietnamese student community on campus, draws in the broader Vietnamese-Minnesotan community, and creates a third, stronger community between the two. “Even though it’s the VSAM show,” Tran states, “it’s for all ages and all kinds of people come to it.”

Fostering community is clearly central to the Tết Show’s mission, and the connections students make is what keeps them participating, year after year. “This huge community was definitely a factor in me going to the U of M in the first place,” Tran says, “I think if it wasn’t for VSAM and Tết Show, while I’m in college I would have basically no cultural aspect in my life.” With the rise of anti-Asian hate crimes during the COVID-19 pandemic, it has become more important than ever that Asian and Asian-American students have spaces to embrace their culture and discuss important issues. The Tết Show is a platform for these students to not only display their hard work and traditions, but also be among people that feel like home.

SAME OUTFIT DIFFERENT BODY

With social media influences and trends coming and going, clothing serves as a powerful medium through which individuals can express their unique identities and personal styles. When planning the “Same Outfit Different Body” shoot, the importance did not lie around the outfit itself, but embracing each individual’s physique.

“This shoot highlights the importance of body inclusivity and how representation in fashion matters whether it is size, gender, or cultural identity,” said Production team lead, Alexa Yung. “It sounds cheesy, but I hope readers see a part of themselves in the models, and it inspires them to be more confident in the things that set them apart from others.”

To curate the vision for the shoot, each member of Golden’s styling team was tasked with bringing in pieces they believed would complement the concept. From there, they were split into groups and began curating the outfits.

“[The process] was a lot of fun, we had mounds of clothes to work with and the team is so stylish, it was fun to play with so many amazing clothes,” said styling team lead Lacey Thompson.

Once the ideas for outfits were selected, the team collaborated to create vision boards comprising inspiration photos and stylistic concepts. Afterward, the styling team scheduled fitting sessions with each model to ensure the pieces picked would fit well come the day of the actual shoot. Once all the logistics were finalized, they compiled a comprehensive list of the missing items and visited local thrift stores to acquire everything necessary.

During this process however, it was important that these vision boards extended beyond the outfits and different styles. It was about encapsulating the essence of diverse individuals — their unique personalities and individual styles.

“One of our biggest challenges as a team was translating from mood board to real life to make sure we weren’t just copying looks from our inspo,” said Thompson. “We wanted to make sure that our looks were telling a story.”

In a world where fashion often idealizes a narrow standard of beauty and body type, embracing the idea of “same outfit, different body” is crucial for promoting body positivity and inclusivity. Golden’s idea for the shoot was not to compare these outfits on different body types, but to break the standard of what the “correct body” is for a certain outfit.

DRESSING FOR THE

MALE GAZE

by Emma Ritter

The clothing preferences one has helps to reflect an individual’s personality, culture, and beliefs. While these aspects all go into the wardrobe choices we make every day, for many young people, there is a lot of thought and care when deciding how we want to be perceived based on the clothes that we wear. Some of the decisions that are made when picking out clothes can be tied to the term, “male gaze”. Dressing for the male gaze refers to the idea that we, consciously or unconsciously, dress in a manner that people, specifically women, believe will please men. Dressing for the male gaze has been a topic of discussion and debate for years, raising questions about societal expectations, empowerment, and individual choices.

Throughout history, women have been heavily encouraged by society to follow trends that men have deemed appropriate based on the time period. According to Fast at UCLA, the financial independence that only men used to have caused men to be able to control advertisements and media regarding women’s fashion, and therefore what became popular.

When considering historical trends like corset tops in the early 19th century, bullet bras in the mid 20th century, and low-waisted pants at the end of the 20th century, it makes sense that men have had a large influence on the popularity of clothing. If men have historically been controlling how women and clothing are portrayed, these clothes end up representing women in a way that men specifically want them to be represented in.

way to try out a new style and connect with peers, and there are many people who enjoy keeping up with trends. There are also trends that may not reflect the male gaze. As feminism and advocacy progress, there are many people who stray from gendered clothing. With some current women’s fashion trends differing heavily from what women have been encouraged to wear throughout history, we are seeing a progression of choice when it comes to what women are expected to wear.

This being said, there are some who find themselves not identifying with the clothes that are pushed onto them through the media and what is popular. According to Sarah Pille, a University of Minnesota student, dressing for the male gaze can sometimes cause insecurity, because people may be wearing

“IT HAS NEVER MADE ME FEEL GOOD ABOUT MYSELF”

In today’s culture, many current trends follow this same concept as women’s fashion throughout history. Form-fitting pants like leggings are common among all ages, and many shirts are cropped. Corset tops are back in style, as well. These are all popular and worn by many people, but are very possibly a result of the legacy of sexualization of women in the media.

According to Iowa State Press Books, between parents, peers, and social media, we are all socialized to behave the way we do. Clothing choices are just one example.

The socialization of living in a patriarchy teaches us to adhere to the trends of clothing, and therefore to the male gaze, according to Open Edition Journals. Trending clothing can be a great

clothes they don’t feel comfortable in. “In High School I definitely dressed for the male gaze,” Pille said. “I think everyone did, but I wouldn’t be comfortable wearing that now because it has never made me feel good about myself.”

The reality is, many people do not feel comfortable or confident in how men want women to look or to dress. This becomes a larger conversation when the male gaze can dictate what is popular and trending in clothing. If this is patternized, there will always be trends that people follow but may not feel confident following. In the end, this can lower the self esteem of women on a mass scale.

Bemnet Tessema, another University of Minnesota Student, said she feels the best when she isn’t dressing for the male gaze, but rather, dressing

so she can feel comfortable. “I have gone out with my friends in sweatpants, and usually it’s because that is what I feel best in,” Tessema said.

This being said, Tessema said she believes every straight woman, at some point in their lives, dresses for the male gaze.

“I feel like every time you go out you want to look attractive to people,” Tessema said. “Any woman who is attracted to men but says she doesn’t dress for men, at least sometimes, is lying.” According to Sage Journals, there are impacts to self esteem when dressing for the male gaze, be it consciously or unconsciously. The male gaze objectifies the female body, and women can often internalize this objectification when they dress for the male gaze. This means that the male gaze has the ability to dictate how women feel about themselves and their relationships with their bodies.

In addition to this, a woman’s personal style may be muted in an effort to dress for how she believes she “should”, and not how she wants. Sophie Speckhard, a University of Minnesota student, there is a vulnerability that comes with dressing for the male gaze.

“Sometimes I feel good when I dress for the male gaze, like knowing that you are dressing in an attractive way, but other times I feel like I am trying to be something that I am not,” Speckhard said. Clothing and personal style can be great ways for women, or anyone, to ex-

press themselves. There is a sort of liberation in being able to dress in a way that is comfortable, but also in a way that is independent of what other people think. With so many positive things being a product of clothing choices, it is important they remain just that; a choice.

“I AM TRYING TO BE SOMETHING THAT I AM NOT”

By: Ava Van Hofwegen

WIPF Intro

A look into fashion evolution and the cycle of trends

Ballet flats, statement necklaces and peplum tops. Some daring trends from the past may be making a reappearance, and a lot sooner than one might think.

The 2010s were a mesh of many different decades of fashion inspiration. When looking back, you can picture casual skinny jeans, festival flower crowns, athleisure or studded heels.

The era was a distinct moment in style despite its tendency to overwhelm. Y2K style has been popular for a few years now, making lowrise jeans and crop tops sought-after items in stores.

Liza Youngscap is the coowner of Everyday People

Clothing – a Saint Paul vintage clothing store. She encounters clothes of a variety of decades every day.

Through her work, she’s begun to notice that even the early 2000s had better material quality than nowadays.

“The fast fashion companies are popping up online, and they’re made with sketchy materials that don’t last. You can just keep buying more and more, it makes fashion a lot less exciting

There are still vintage qualities to some of the clothes that were made in the early 2000s,” said Youngscap.

In the past, clothing was otten made with higher quality materials which could last longer than what is mass-produced nowadays. These pieces have a longer life and can appear in second-hand stores for shoppers in the 2020s.

“The eye gets tired of the look of the period and searches for something that looks new. Experts say it takes a generation i.e. 15-20 years for a trend to look new again,” said DeLong.

Marilyn DeLong, Professor Emeritus at the University of Minnesota College of Design, says how there will always be subtle changes in fashion trends because of the style at play– skinny to wide jeans for example –this creates a need to consider the whole look and a change in perspective.

The next predictable cycle of trends would be the 2010s.

Daily Dose Retro is a vintage clothing shop in Saint Paul that opened up two years ago. Ayleen Calderon, co-owner of the store, believes that trends continue to recycle each other.

Vintage trends come and go— looks that were popular in the 70s were popular in the 90s, just like how looks that would’ve been stylish in the 2000s are popular now, too.

The 20-year cycle in the fashion industry is a phenomenon that has been seen throughout many decades, theorized by James Laver. Adults look back at their youth with nostalgia for the pop culture at the time. They want to replicate these past trends in their current style. So why does it feel like trend cycles are moving faster than before?

With social media and clothing production rates, trends move much faster than in previous years. Fast fashion companies replicate sought-after designer pieces and create affordable knockoffs with low quality. They produce clothing at more rapid speeds

Calderon believes within the next five years, the 2010s could become more popular. It seems to already be starting, and will probably gain more traction, in her opinion.

In this era, technology was starting to jumpstart and influencers were just beginning, there were huge changes each year in the clothing industry that decade.

Microtrends are fads for a particular style or even a singular clothing item that has a rapid increase in sudden popularity only for it to quickly fall off once again. These trends are heavily promoted by influencer consumer culture and are seen especially on social media platforms like TikTok.

Arlo Swann, an employee at Everyday People Clothing says he’s noticed trends come and go quickly. He hopes that 2010s fashion will become popular.

“I think it’s fun. More people are trying to find their style and play around with trends and that was what a lot of that era was about,” said Swann.

One specific recent trend Swann has recognized is the aesthetic of 2010s computer technology, Frutiger Aero.

The aquatic, futuristic vibrant greens and blues are reminiscent of the early 2010s. This type of nostalgia has the potential to make its way into fashion.

Alex Bank, co-owner of Final Stop Vintage–a clothing store located in Minneapolis, first noticed microtrends in 2016 with white vintage graphic T-shirts.

By 2018 it was black vintage T-shirts that were trendy. Now, workwear is currently popular in men’s fashion, with vintage Carhartt jackets selling for hundreds of dollars.

“Parts of the 2010s could come back but not all of it. There was much more access to fashion so it’s different than the era that had such a specific overall style. In the 2010s people were wearing everything up until then so there was a lot to draw from,” said Bank.

Designer and student, Emme Sugnet gets a lot of her inspiration from the fabric that she finds thrifting for her sewing projects. Recently she has designed clothing inspired by the 1940s and 50s.

“Trend forecasting is interesting because there is a duality with it. On one side the people create the trends and designers work around them but on the other hand, the designers can create them,” said Sugnet.

Seeing fashion repeat itself at faster speeds can be alarming. It can make you wonder how that style could ever become popular again. Fashion is constantly evolving in new ways whether it’s predictable or shocking. It can be eye-opening to see something old styled new and better than before.

By: Grace Knapp

In a culture that continues to cycle through fashion trends, it can be expected to see similar components layered throughout the ages. However, what might not be as noticeable are the styles highlighted in today’s trends from Generation Z and millennial childhoods. People might notice these details becoming immensely popular – bows, the color pink, strapless garments, or UGG boots just to name a few. People gravitate towards these forms from their past because the patterns and colors may reflect a sense of nostalgia, comfort, or confidence. Digging deep and finding these pieces of clothing may even invoke a sense of rebellion or manifest a feeling of control.

“It won’t come as a surprise that the world now is not like what we (millennials) were promised, when we were younger and told that if we just work hard, everything’s gonna be great” explains University of Minnesota Apparel Design Professor Luci Kandler “I think, subconsciously, we’re trying to bring back something from a time in which we felt we were in control of our futures.” Taking materials from the past and weaving them into today’s fashion may make the present feel not so scary.

Today, millennials make up the majority of apparel designers. Accord-

style

ing to Kandler, millennials are an incredibly nostalgic generation. In a sense, these designers are subconsciously trying to change the world around them to reflect the last time they felt happy and comfortable, Kandler explained. Many designers do that by creating trends and styles that reflect the past. Taking tangible items from prior trends and modernizing them can provide comfort and confidence in clothing. This is what style is about.

“I think that’s the whole point of being a clothing designer, is that you’re helping somebody show up as the person that they want to be.” Kandler explained. Fashion is about finding a personalized style that makes the most mundane activities exciting. Color is a common way that people toy with the concept of finding their true style.

Dopamine dressing, or the idea of specifically wearing colors that elicit dopamine responses in one’s brain, is a concept that is becoming more mainstream in modern fashion according to Kandler. A similar, and maybe a more recognizable concept, explained Apparel Studies PhD student Boowon Kim, is power colors – colors that are meant to elicit a specific feeling of confidence. “Colors like red orange make me stand out and give me more confidence,” Kim said.

When discovering a personal dopamine, power, or signature color, a helpful exercise may be looking at a favorite color from your past and seeing what it would feel like to weave that into how you dress now. Kim explained that during her masters program, she used a lot of orange in her designs and still enjoys playing with those colors even years later. Reflecting your past in what you wear today can help you discover euphoria within style.

Continuing to explore these elements, not just patterns and colors, but even brands and silhouettes can help reaffirm style. “The clothes that are my favorite now definitely reflect who I was when I was younger, either because of the fit or the fabric or the pattern,” explained Kandler.

As a young professional, Kandler used to design patterns for a pajama company surrounding nostalgia and created a line of storytelling pajamas for adults. For example, one pair consisted of a flower pattern, but when you looked up close, they were actually covered in ladybugs. Kandler said the goal of these pajamas was to be fun, resembling a kids story book. As a result of this job, Kandler wore a lot of patterns. “[patterns] have come and gone at times, but I feel like it’s definitely back in my closet right now” she stated.

Before planning an outfit, some might contemplate peer pressure, online trends, and body image stereotypes. Looking at what used to provide delight before these thoughts surfaced can help bring out the feeling of confidence and reveal true style. When picking an outfit or looking for true style, Model Tonny Yang suggests playing around. “You don’t know what’s

going to stick with you. Trends go in and out,” they explained, “You might like something for a while, and you might hate it eventually. I mean, as a younger teenager, I went through so many styles.”

Yang, who’s a Hmong model born in California and raised in St. Paul, wants to use their platform to bring more representation to the Asian American and Pacific Islander communities along with people who identify as queer. “Play around and feel what makes you feel comfortable. And if you feel good, if you feel comfortable, then that is what matters.” Creating a sense of style can be scary, but finding ways to feel unique and truly you can be impactful.

Creativity is the key to building a self-assured look, “there’s this quote from RuPaul about [how] we were born naked [and] the rest is drag,” explained Kandler, “I think that gets to a lot of what apparel designers specifically feel about clothing. Clothing is, really in essence, just a costume, armor, or drag that we choose daily to convey who we are to the world.” Finding clothing that feels special and true to your personality, no matter what decade it’s from, is the most important part of developing or rediscovering your sense of style.

THE ART OF CURATING:

THE ANTIQUE SHOP HUNT AND GATHER

By Ava Van Hofwegen

Open for over 20 years, Hunt and Gather is a vintage amusement store that is impossible to forget once you’ve experienced it.

Located in the Fulton neighborhood of Southwest Minneapolis, the shop stands out with large acrylic letters piled outside the storefront greeting you as you arrive.

Kristi Stratton was first a dealer at the shop, American Classics, which has been there since the 70s. With the motivation to work for herself, she bought the store and it became Hunt and Gather. It was nothing like it is now. She has put more into it each year, as it evolved into what it is today.

Every corner has a unique ambiance with something new to look at. Antique shops work with different dealers that display their col-

lections for sale, each one renting a different stall. At Hunt and Gather, there are around 15 different dealers.

Immediately as you walk into the store there is a hallway of mirrors, colorful lights, and dresses hanging from the walls. The front room displays items from every dealer combined. This collection rotates every month.

Stratton ensures that each dealer’s space fits with the standards of the store and everything is edited to avoid items that appear cheap.

“I’m inspired by layering pattern on pattern and just coming up with weird things that look good together. I get inspired by what purchases I fall into. You never know what you’re gonna find to buy next,” Stratton said.

With the amount to see, Hunt and Gather could have you wandering around for hours. The place is filled with houseplants for sale, building on the cohesive aesthetic of the shop. There are many unique items, including carnival-inspired pieces and hanging lampshades made of hoop skirts.

“Anything that’s one of a kind I’m

really drawn to buy because then it just stands alone and makes everything else around it look better,” Stratton said.

One of the most popular items that sell is the raw paper material for posters and decor. Scattered across the store are different places stacked with art and clippings

from books. A particular room in the back is filled with hundreds of papers to look through.

Stratton said she loves to see younger demographics creating their own styles through this decor that is one of a kind.

These younger age groups find it important to reuse and shop sec

OWN YOUR IDENTITY

ondhand, which supports a business like Hunt and Gather even further. Thrifting has become increasingly popular over the last few years. “It’s cool and hip, I see people on the weekends here lingering around because all the cool kids are in here,” Stratton said.

Hunt and Gather has grown a significant social media presence with over 18 thousand followers on Instagram and 12 thousand on Facebook, with help from her two daughters who assist with posting on the pages.

Through social media and word of mouth, Hunt and Gather has been a staple for the Twin Cities and secondhand shopping.

Each year the shop hosts a garden party. This year it falls on April 18th through April 21st. They serve snacks and drinks along with their two major sales throughout the year.

Their second is for their summer pop-up in July when the store turns 21 years old. They plan on having a legal drinking age celebration for the occasion.

“Everyone should celebrate buying what they like and decorating how they want to,” Stratton said. “Own your identity through decorating. And it’s always changing here, so we always have new stuff to stroll through,”.

The seemingly unlimited inventory leads to the advice of setting aside more time than you think for your next Hunt and Gather visit, especially if it’s your first time there.

Q U E E R

EXPRESSION

Lilah’s Journey of Self-Discovery

By: Emma Ritter

While The COVID-19 pandemic left some of us with far too much time on our hands, for some, it was time to experience new things and discover who we were without the constraints of regular day-to-day life.

Perhaps the best example of true self-discovery is Lilah Pundy, a 20-year-old drag queen who lives

in Minneapolis. Her journey to where she is now began in the basement of her childhood home while in lockdown during the pandemic.

“Every night I would stay up and mess around with my makeup,” she said. “I re-

member I bought my first Amazon wig and it was the ugliest thing ever, but I loved it.”

Along with her passions for makeup and creating new looks, another interest of hers in those early days of discovery was RuPaul’s Drag Race, a show she described as an inspiration to who she is now.

RuPaul’s Drag Race is a reality television show where drag queens from all across the United States compete in different creative competitions. Each season brings in new people to compete, and the show is hosted by RuPaul, who was dubbed the “Queen of Drag.”

“I didn’t know much about drag before watching the show, but I have watched every season two or three times, and I definitely took it as an inspiration,” she said. “It was kind of my introduction into the drag world.”

Lilah has always loved the spotlight and being able to express her creativity in a multitude of ways. However, it was always difficult to satiate her desire for the glitz and glamour she was drawn to in the small town where she grew up.

Practicing makeup and doing high school theater, both just small portions of what she was truly passionate about,

“Drag kind of opened a door for me to come out as trans.”

merely foreshadowed the person she was about to become.

At 18-years-old, Lilah did her first open-stage competition at the Gay 90s. She sent the music she wanted to perform to in advance, and after a few weeks was able to begin getting booked.

February 24th marked her two-year anniversary of being a drag queen. Within the drag community, she has been able to thrive in an environment that not only fosters her passion for performing but also provides her with a safe space to discover who she is and wants to be.

“Drag kind of opened a door for me to come out as trans,” she said. “I get to be my authentic self every day.”

The drag community connected her with a group of people who helped her to embrace her identity, and the acceptance and support she received in Minneapolis were a contrast to how she felt about her identity in the small town where she grew up and went to school.

“I was so scared to come out as trans in high school,” she said. “Now that I am in this scene, I feel like it’s perfect.”

Lilah said the reason she felt so comfortable coming out as trans was because she felt a sort of sisterhood once she met the group of people she would later consider coworkers and friends.

While there was so much to learn as a new drag performer she had people to help her with her journey and to form lifelong bonds with.

“One of my best friends is Kendall, she is an amazing performer and an amazing person,” she said. “You create such a good family, and they feel like your sisters, or like a chosen family.”

Lilah said she has especially enjoyed the Minneapolis drag scene because of the opportunities it has for locations to perform and the atmosphere that is made for queer people.

“There are so many venues, producers, and shows and clubs that you can perform at, and some

cities only have their two local bars,” she said. “Even though the Gay 90s isn’t just for queer people, the queer people usually stay up in the stage room and I love that dance group.”

Although she loves her life here and the community she is a part of, she said she eventually wants to move to

a bigger city. She said she is most drawn to places like New York, Los Angeles, or Chicago, specifically for the drag scenes and nightlife those cities have to offer.

Lilah’s journey over the past few years of her life has led her to a career where she

can do everything she loves and more.

She was welcomed into a community that accepted her with open arms, she has had opportunities to grow in her identity and in her career, and she has ultimately been able to create a life for herself that she truly enjoys.

“I get to be my authentic self every day.”

As we approach the end of our journey to revival, the final step is to emerge into the truest version of yourself. The closing section of Golden Issue 5 focuses on the confidence and self expression that illuminates as you discover your true essence. Celebrate the beauty of embracing one’s individuality and the liberation of living authentically as we embrace the moments that shaped us throughout our journeys.

COMPASS:

Navigating the Crossroads of LGBTQ+ Identity and Business Culture

By: Robby Pettit

“And what do you do, in that situation?” I ask. “Oh, well, you know,” says Devin Torres, Marketing and Promotion Director of Compass

Undergraduate. “You do the straight voice.”

We’re meeting together to discuss Devin’s student group, Compass, the queer-affinity business group on campus. My goal for this meeting has been, up until this point, to talk to

The reality of queerness means that sometimes, being yourself can feel like a statement. A quick comment about a same-sex partner or the inclusion of pronouns on a profile can queue people into what for many of us was, for the majority of our lives,

This situation is especially common at Carlson, the undergraduate business school at the University of Minnesota. In its early years, Carlson’s standard of perfection was one of conformity; however, through the efforts of students and faculty, this standard changed over time. The mere existence of Compass proves this fact, and my conversations with board members like Zach Mester (Co-Executive Director) illuminated the many efforts that Carlson has taken to make itself more inclusive, like the LGTBQ+ community lunches the school hosts every month, or the creation of the Center for Inclusive Excellence, a Carlson department dedicated to the promotion of diversity.

ERBIRTH

him about queerness and business, where the two overlap, how businesses support their queer employees, how they sometimes fail to. Instead, I’m struck by the truth of what he said, one that I’ve felt in my own life and heard echoed in my meetings with other Compass board members.

The experience Devin’s talking about is one that queer students are familiar with: being assigned to a group of people you don’t know and forced to decide how to present yourself. How do you make your voice sound? What about your mannerisms? Will the people around you be able to tell? Will they treat you differently, if they can?

our biggest secret. The process of coming out, instead of being one and done, seemingly extends into infinity. In a culture where the acknowledgement of queer existence can be faced with fierce resistance, these small comments feel incredibly charged.

Walking through Carlson or Hanson Hall today, you’ll pass students from innumerable different backgrounds. And queer students? “They’re there, but it’s sometimes harder to spot,” says Mary Oman, Compass’ Finance Director. Part of this is due to the fact that queerness doesn’t always present itself externally. But part of it is also due to something deeper, something that even Carlson’s strongest administrative pushes have failed to resolve: the profound impulse to hide.

“It can be hard to step into your identity when you don’t see anyone else doing it,” Mary commented later in our conversation. Though the legal

battles for our rights have been won, our generation is facing the fact that for many people, we are the first: the first gay friend, the first person they’ve seen kiss someone of the same sex, the first family member with an identity outside the gender binary. This can be disheartening: while closeted, many of us found solace in the fact that the world, we were led to believe, was ready for us. The reality proved disappointing: even on a campus with over 30,000 students, in some places, we’re the only one.

Though experiences like these can lead to feelings of isolation, the existence of organizations like Compass reveals that even when the numbers are few, we’re not alone. My conversations with the board left me with two conflicting feelings. The first was hope: seeing the efforts of queer students like Devin, Zach, and Mary reminded me that the challenges facing our generation, though severe, are met with a multitude of competent and passionate people working to solve them. The second was, strangely enough, obligation. Though in an ideal world, representation already exists, queer professionals and students are now faced with a unique opportunity: when we decide not to hide, we chip away at something.

And when we create the representation we want to see, we leave something beautiful in its place.

THE END, BUT NOT the ending

By Robby Pettit

The walk home was when I realized it was the last time. I’d left the bar, and my friends, and the noise and the game and the vape-clutching freshmen, when I suddenly found myself standing on a street corner, confronted by the fact that I would never ever again be walking back to my apartment from a football game.

It was just a football game, though. I was sure I would go as an alumni at some point in my life. Besides –I don’t even like football, not really, not if you take away the tailgate and the excuse to have a Whiteclaw Surge at 9:30 a.m. Except it didn’t feel like that. It felt like this ending was a thin veneer barely concealing the fact that everything – my friendships, my small moments, my familiar faces in the crowd –was over too.

I am a business student, and a finance major at that, so in between arranging blocks and coloring, I have learned a few things about how the economy works. I could tell you about stocks or bonds, or maybe, vaguely and inarticulately, about options, but the main thing I know is that the economy is made of finite resources. There isn’t enough to go around, hence value, money and people trying to sell you things on TikTok Shop. Capitalism, and by extension the world, is based on scarcity. When you lose something, it’s gone. When you give something, you don’t get it back. And when things end, they don’t begin again.

Standing there on that street corner, it wasn’t the first time I’d been reminded of that. I remem-

bered the end of high school, saying goodbye to family and friends and stepping into a new life tabula rasa. I remembered my last few weeks abroad, the era of traveling and Spanish and laughing with my girls dwindling each day until it was gone. I remembered the dissonance between knowledge and reality, the way that leaving didn’t feel real, not until I was alone in my dorm room for the first time, not until the plane touched down at MSP. I remembered trying to understand the end before it happened, and failing.

I would like to say that things didn’t change. I would like to say that I am as close with my high school friends as I was the day we left. I would like to say that when I got back to the US, I spent as much time with my girls as we did abroad.

I would like to say that I know how to handle this upcoming transition. The reality is that I am afraid that rational economic theory is right, that love is a commodity, and like other commodities, it is cyclical and finite and scarce. I am afraid that the end of college means that despite my best efforts, my grip was too weak, and these precious things will slip through my fingers.

Life did change after high school and abroad. Life will change after college. I’m right in acknowledging that. But I would do well to remember that in neither experience did love end. Both times, it came back to me in a new form. Actually, the love I felt in high school returned to me in such a powerful way that it is now the very reason I am so afraid of things changing again.

It’s time to say goodbye, but love is never experienced for the last time.

And maybe that’s why this ending is hitting me so hard. Maybe I’m not actually afraid that I won’t experience love again; maybe I’m afraid that I will. Maybe I can sense that the love in my life right now is the most powerful it has ever been. Maybe what I’m feeling isn’t fear, but an unwillingness for that medium of love to change.

Yet it will change. That is heartbreaking, but that is beautiful. I will be back for another football game, but it will never be like that last one. I will love my friends until I can’t anymore, but our lives will be different and separate. It’s time to say goodbye, but love is never experienced for the last time.

THE MEANING BEHIND A ROOM

By: Ella Anderson

“There’s no one consistent theme that’s going on, but all of the things in here are me,”

We all have our places. Places where we like to go to rest and recharge. Places that strike creativity within us. Places that are individually unique to each person.

Our personal spaces become a jumble of our day-to-day lives and experiences we carry with us. The walls might hold up posters from your favorite band or pictures of you and your favorite people. The shelves might act as a podium for that one-of-a-kind trinket you found at an antique shop in high school. The bed might be the home for your childhood stuffed animal that you just can’t part with.

With any space that you inhabit for a decent amount of time, the space starts to form around you. Personal spaces are intimate places where you go to just be yourself surrounded by the things that make you content.

Megan Pangier, a senior at the U of M, believes her personal space is very reflective of who she is. Her collections of music, books, photos of friends and loved ones and walls lined with art all showcase the things that bring her joy.

“There’s no one consistent theme that’s going on, but all of the things in here are me,” Pangier said. “I think there’s a big reflection of me, and just me collecting things that I like.”

Pangier enjoys when people collect little trinkets and doodads from the places they have been and things they have done. She thinks it is what makes someone’s personal space special to them. She feels like when she walks into someone’s space she is able to get a sense of

who they are based on the items on display.

Similarly, Anna Zindren, a sophomore at the U of M, feels like her room is reminiscent of her friends and favorite memories. She recently read an Architectural Digest interview with Orion Carloto, in which Carloto mentioned her house rule; she doesn’t buy anything for her home unless she can share a story behind it.

Reflecting on her room, Zindren feels like much of what she has

in her personal space follows this same rule. All of the items she cherishes the most are items tied to different people and places throughout her life.

Zindren shared the ghostly story of a hat she bought from Smile Back Vintage after she decided to transfer to the University of Minnesota. She and her friend decided to go pick out some vintage merch to start Zindren’s U of M apparel collection and ended up leaving with a free hat that may or may not

be cursed.

“The guy gave [Smile Back] the hat and said they could have it but only in the case that they gave it to someone for free because he thinks it’s cursed,” Zindren said. “The hat is signed by the entire 1983 hockey team, who apparently didn’t win a single game.”

It’s pieces and trinkets like these that give life to a person’s space. Just a simple hat can turn into a story about an unlucky hockey team with an even more unfortunate season. A poster on your wall can spark a debate about why a certain band is completely underrated. A picture on your nightstand can start a conversation about how you and your mom look exactly alike.

It’s the meaningful pieces you put into a room that make the room itself have meaning.

For Sophie Felton, a junior at the U of M, her room is filled with meaningful pieces that people have given to her, so it is difficult for her to choose just one thing that tops them all. One of the many important pieces to her is her black electric guitar which she found for free at her previous job.

Felton’s dad also plays guitar and fixes them up as a hobby, so when she told him about her new find they were both excited. Her dad fixed up the guitar for her and added some special flair to make it unique to her.

“He added details like this black guitar strap with white stars on it,” Felton said. “He then took a sharpie and wrote my favorite bands in the stars like the First Avenue wall.”

Having a plethora of meaningful trinkets and pieces like Felton, makes a personal space feel like a living scrapbook. It’s a place for all your most treasured memorabilia, pictures and electric guitars. More than likely your personal space is filled wall to wall with pieces you selected specifically for the joy and memories they bring.

Over time a person begins to accumulate things for their space. As college students start in dorms and move to apartments or houses, and sometimes both in the span of their time in school, the accumulation of stuff becomes a little more intricate and interesting.

Your room may consist of your childhood bed, a rug from your freshman year dorm, a poster you found at the thrift store and a chair you found listed on Facebook Marketplace for free. Pangier’s cur-

rent room consists of pieces from her childhood room to that free chair she found listed on Facebook.

Pangier who is graduating this year is in the works of planning out her next personal space as she enters a new chapter of her life, the post-grad period. Her current plans are to head west and venture to Portland. She hopes to decorate her future personal space with a little more of an adult vibe.

However, Pangier still plans on bringing her childhood nightstand and her grandma’s lamp to her new space. Though she plans to evolve her personal space in many different ways, like turning her photo wall into a scrapbook, she still wants her room to reflect her, just her in a new phase of life.

That is the beauty of personal spaces. They grow with you, but they also hold onto the memories that bring joy and meaning to the space and you. They serve as an ever-evolving time capsule for the things that are most important to you.

Having a plethora of meaningful trinkets and pieces like Felton, makes a personal space feel like a living scrapbook.

mn fashion week

by Bianca Caputo

Fashion Week Minnesota has grown exponentially in its eight years. This spring, founder Sarah Edwards is planning for the event to return bigger than ever.

Growing pains within Fashion Week Minnesota have been felt as the event has experienced rapid changes. Fashion Week Minnesota has existed as a volunteer organization, and has not had time to gather resources in order to pay their designers, said Edwards. This situation has created significant problems for both models and designers. Twin Cities model Elijah Swift said he has struggled with the industry due to financial concerns.

“I really do enjoy it,” Swift said. “The only downside is because it’s Minnesota, it’s not a big market so I’m not getting paid, which is really rough to be honest with you.”

Edwards, Chief Executive Officer of Fashion Week Minnesota, emphasized that though promotion for designers is excellent, the most important thing is getting them paid and set up for success using Minnesota Fashion Week as a springboard for future projects.

“It’s all rooted in making sure that we can really create an equitable fashion week, Minnesota and that our whole community can thrive and really center designers,” Edwards said.

The event creates a space for creatives to come together for networking and display their work on a more local scale. Photographers, models, designers, and social media influencers are able to make larger projects come to life by pitching their ideas in a more

casual setting.

Fashion Week Minnesota is a locally focused week-long string of fashion events taking place every fall and spring, according to their website.

Twin Cities fashion community influencer Ian Friske took an active role in the event last year as a model.

“I think that it brings a lot of people together and it unites a community in the fashion industry, where Minneapolis isn’t really known for like, their fashion, unlike L.A. or New York,

where it’s like the hubs for like, shows and stuff,” said Friske. “So I think by bringing it to Minnesota, it attracts a lot of attention for the creatives here.”

Edwards and Jahna Peloquin co-founded Fashion Week Minnesota in 2015 to showcase creatives in the Twin Cities fashion industry and serve as a fashion incubator.

Global fashion events are a display of style excellence within the industry, as seen in Paris, New York, Milan and many others. However, designers and models need to prove themselves in more localized markets before moving into a larger space.

Media Bridge, an advertisement agency in the Twin Cities, formed a partnership with Fashion Week Minnesota this past August in order to consolidate Edward’s business ventures, according to Minnesota Monthly.

In addition to minimizing behind the scenes complications, Media Bridge’s

aim is to find funding for expansions in the event and create equitable solutions for getting talent within the event paid fairly.

In past years Edwards has been responsible for a significant amount of event coordination. With this partnership, Edwards will be able to take more of an active role on the creative side where she shines, and Media Bridge will help to fill in logistical and financial gaps.

Within the next year, paid advisory positions will be coming into play with

said.

Tracy Call, Chief Executive Officer of Media Bridge, says that the partnership between her and Edwards formed organically due to their similar values.

“She’s built her community through her strong belief in connection and community,” said Call. “And so it’s just been this like really cool, harmonious, easy connection.”

Said Edwards, “I always kind of joke

that Fashion Week grew up before we were kind of ready for it.”

Fashion Week Minnesota is not the only week-long fashion extravaganza in the Twin Cities. Black Fashion Week Minnesota also holds displays of Twin Cities designers twice yearly. Black Fashion Week Minnesota serves as a significant platform within the Twin Cities centering diversity and inclusivity in their mission.

Natalie Morrow, founder and Chief Executive Officer of Black Fashion Week Minnesota, the Twin Cities

Minnesota Fashion Week, Edwards

Black Film Festival and the Morrow Group, is passionate about creating spaces where creatives of color feel welcome.

“I think the importance of Black Fashion Week and the Twin Cities Black Film Festival is really allowing a creative to be free in their space to create and build their dreams,” said Morrow. Black Fashion Week Minnesota bega surprisingly as an offshoot of the Twin Cities Black Film Festival. During the festival there was an event called the Hollywood Fashion Show, where attendees would dress up in Hollywood inspired looks.

Morrow was shocked by the excitement and audience it generated. Then, she decided to make Black Fashion Week Minnesota its own weeklong event.

The key differences between Fashion Week Minnesota and Black Fashion Week Minnesota are seen through inclusivity, said Morrow.

Though Fashion Week Minnesota is diverse, Black Fashion Week Minnesota tries to create more opportunities for everyone that wants to be involved.

Model and photographer Devon Williams works with multiple fashion la

bels in the Twin Cities, mainly under the Black Fashion Week Minnesota event umbrella.

“Honestly, my network has increased tremendously as far as modeling,” said Williams. “It has opened my doors, many photography opportunities.”

While Fashion Week Minnesota grapples with inclusivity issues, it is making steady progress towards equity.

“It’s been absolutely incredible the

support we’ve been starting to receive from different community partners, and it’s going to come back super, super strong,” Edwards continued.

“We’ve had spring and fall seasons, and it’s been a showcase of creativity and culture and community and it’s been an amazing, amazing ride.”

Marki, who has an editorial photography business titled Moments with Marki, serves as Edwards jill-of-alltrades.

Marki works on Edwards’ projects by helping to maintain her website and assisting with content creation, filling a variety of other small roles along the way.

“The way that we come back is going to be really big and I think that’s what’s really exciting about it,” said Marki. “Just keep watching, you know, like Fashion Week is going places, and it’s also been through some shit.”

to from Old New from Old Newto

By Grace Knapp

re re

Thrifting isn’t just an easy way to save money, it’s also a crucial part of staying sustainable.

85% of clothes end up in landfills, according to The National Institute of Standards and Technology.

Textiles, like clothing, are one of the fastest-growing causes of waste. Only about 15% of clothes and other textiles in the United States get reused and turned into something unique.

A collection of University of Minnesota students all work to make that percentage of reused clothing grow.

T-Jay Yang, a junior studying apparel design, gives life back to clothing that would otherwise be thrown away by upcycling old materials.

Yang sources their clothing by sifting thrift stores, gathering donations from friends, and even taking scrap fabric from different apparel design student groups that no longer have a use for it.

Upcycling can be anything, Yang said. A pair of jeans can become a tote bag or a skirt can be made out of old t-shirts. Old can become new with just some simple stitching.

“I just love being able to turn something that someone just threw away or just forgot about into a beautiful silhouette or a garment that can just accentuate

“

Thrifting isn’t just an easy way to save money, it’s also a crucial part of staying sustainable.

one’s beauty and just once femininity,” Yang said.

Sifting through a thrift store for hours or coming up with a creative way to upcycle an old article of clothing may feel overwhelming. For others, it’s their passion.

Ella Olsen, Mathea Bruns, Abby Johnson, and Milo Glaser even started businesses around their love for thrifting.

Olsen, a sophomore studying apparel design, started her Depop business around a year and a half ago. For Olsen, this business acts as a side hustle and passion project where she sources clothes from stores, cleans the clothes, mends them and then resells them at a reasonable price.

“I just really want to give people the satisfaction that they can feel confident in things that they probably wouldn’t expect before,” Olsen said.

Olsen sells it all, from Y2k styles to elegant basics to streetwear. Her main priority when listing clothes is that each buyer has an individualized experience. Olsen hand-writes cards for each purchase which include style tips, her contact information, and affirmations.

“I always just give out a really welcoming message that if this is new for you or if this is something you maybe haven’t bought before, I will always help you if you need it,” Olsen said.

Mathea Bruns, a sophomore studying marketing, started selling vintage clothing in 2021. Bruns has always had a deep passion for clothing and collecting unique pieces. Her love for unique clothing came from her mother’s

closet which she would play in as a kid.

“I always liked playing dress up. Clothing is a really cool creative expression for me,” Bruns said. Bruns takes joy in making something that is worn down beautiful again. Recently, she has been deconstructing sweaters that already contain holes or flaws in order to make the errors look more intentional, as a way to stay sustainable.

Abby Johnson, a freshman studying marketing, also keeps sustainability at the forefront of her mind when sourcing clothing for her vintage business, @rocketvintage_. She finds the Goodwill Bins to be the most sustainable option.

“After the goodwill bins, these clothes go straight to the landfill or to a rag shop,” Johnson said. “There

are so many clothes. There’s never going to be a day where all the clothes are gone.”

Johnson has been selling since around 2019 when she realized she had more thrifted clothing than she’d ever need. Johnson finds thrifting to be a really important part of self-expression.

“Thrifting your own clothing gives a person more creativity,” Johnson said. “For me personally, it kind of inspires me to express myself through clothing because I just feel like the pieces are more unique and you can be more experimental and have self-development.”

Milo Glaser, a sophomore studying retail merchandising, loves to thrift in order to source the perfect vintage collection for her business and learn something at the same time.

“I have always loved fashion, history, and the idea of curating something,” Glaser said. “I really love learning about the clothes through the research that I do about the pieces, or hearing the stories from the people that I buy them from.”

Glaser is conscientious about what gets added to her shop and her closet. She’s always gravitating towards dainty feminine pieces anywhere from the 1990s to the early 20th century to curate the perfect collection.

“Just being able to touch, and for a brief period own these really crazy historical pieces that are like something you would find in a museum is something I love,” Glaser said.

With every stitch, these students work towards making the future of clothing more environmentally conscious, fun, and unique.

EDITOR IN CHIEF

Lauren Sun

CREATIVE DIRECTOR

Bella Landaeta

Greta Foster

MARKETING DIRECTOR

Annaliesa Diekvoss

PROJECT MANAGER

Alexa Yung

Jada Doke

ART DIRECTOR

Kaci Kopf

MANAGING EDITOR

Ella Anderson

BLOG LEAD

Bianca Caputo

BLOG TEAM

Stella Dileva

Emma Walytka

Emma Vasa

Isabelle (Izzy) Silvola

Natasha Delion

Hannah Trecker

Ananya Sarangalwar

Leah Gaffney

Lauren Lugbauer

STYLING LEAD

Anna Keith

Lacey Thompson

STYLING TEAM

Milo Glaser

Ava Sahin

Gianna Torrisi

Sam Brooks

Tjay Yang

Mathea Bruns

Ian Friske

Aissatou Faye

Ella Olson

Maitri Ajmera

Julia Humphrey

Abby Johnson

GRAPHICS LEAD

Mia Hansen

GRAPHICS TEAM

Emily Ulfig

Natinael (Nati) Yeshiwas

Anneli Paulson

Isabella Hang

Josephine Seidelmann

Louden Johns

PHOTO LEAD

Aaron Kruse

VIDEO LEAD

Monroe Chumklang

VIDEO & PHOTO

Junyu (Randall) Xiao

Cooper Olson

Kei Caro-Bustillos

Cora Kuhlenbeck

Zoe Walker

Meghan Bunkenburg

Claire Garton

Catie Sullivan

Natalie Shepard

PRODUCTION TEAM

Anna Zindren

Kiyana Maynard

Silvie Reitz

Sofia Esparza

WRITING LEAD

Natalie Trimble

WRITING TEAM

Grace Knapp

Stella Schutz

Kara Savage

Emma Ritter

Gabriella Tanghe

Thomas (Robby) Pettit

Riley Letendre

Varsha Venkatesh

Ava Van Hofwegen

Katherine Rohling

Jada Sandvall

SOCIAL MEDIA LEAD

Sonja Palmer

Zelie Capolupo

SOCIAL MEDIA TEAM

Raina Cummings

Sophia Lancaster

Hannah Carlson

Salma Ibrahim

Kaitlyn Murphy

Maggie Nyhus

Linsey Haderer

Lola Bennett

Chase Grivna

FINANCE LEAD

Sophie Felton

EMAIL MARKETING & FINANCE

Sadie Grunau

Rachel Kempinger

Sonja Palmer

MODELS

Adamari Rangel

Adreanna Manirath

Aedan Gallagher

Ajwato Ongwach

Alisa Zudov

Alix Schlegelmilch

Annie Gardner

AugustSchmitz

Ayan Mohamed

Bao Dang

Bee Valentino

Billo Barry

Bryant Howard

Christine Vang

Destiny Big Crow

Ebony Templeton

Emily Kooda

Garret Kraemer

Ian Friske

Imani Moore

Io Anderson

Isaac Castro

Jenny Luttenberger

Julia Humphrey

Kennedy Hutchens

Kiyai Dorsey

Lilah Doll Iman Cassadine

Lily Hill

Maleyah Dunn

Maria Alleman

Max Mohrlant

Mathea Bruns

Micky Cortolezzis

Niranjan Nayak

Nora Vuong

Rachel Deng

Ray Maynard

Richard Le

Seven Wright

Tan Huynh Tonny Yang

Wasima Farah

Whoshey Lo

HAIR STYLISTS

701 Salon

Ella Donovan

Frankie Abel

Tristun Trudeau

Jess Pratt

Urvi Athalye

MAKEUP ARTISTS

Anna Zindren

Ashlee Ramirez

Cleopatra’s Envy |

Makeup Academy

Ian Friske

Kiyana Maynard

Maria Rivas

Shalayah West

Skylar Birdsall

Tracy Johnson

Zea Brown

FWMN DESIGNERS

Better Together | Katelyn

Duffney & Devyn Reyes

Maker! Apparel | Henry

Phillips

SMR Thrift | Emily Rose

Vintage Rack | Brooke Burch

VENUES/LOCATIONS

Regis West

Hunt & Gather

Como Gardens

Anna Keith’s House

The Lowlands

Our fifth issue could not have been made possible without the incredible help of our staff. Exploring the intricate concepts within this issue could have seemed daunting, but our team rose to the challenge, pulling these ideas together into a vibrant display of creativity and dedication. Each member of the Golden family played an indispensable part in bringing this magazine to life. We were blown away by the involvement from each of our members, and are thrilled to witness our Golden family thriving and expanding.

What might have felt like a series of endless meetings has been transformed into moments of genuine excitement, all thanks to the authentic bonds and relationships that we built within Golden. We could not be more proud of the collective effort and passion that have culminated in our fifth issue.

To all those who supported us, whether as makeup artists, models, collaborators, venue operators, or anyone in between, your contribution is deeply valued. You are the glue that binds us together, and we are incredibly fortunate to have volunteers who wholeheartedly embrace our mission, dedicating countless hours to bring our vision to life.