Pack Fashion Magazine Spring 2019 by Hannah Williams

FRONT COVER CREDITS Model THOMAS ELLERBE Photography MEGAN SINGLETON Styling ARIANA FERREIRA

s I’m writing this letter I’m watching the sunset beyond the trees looking out over Lake Raleigh from my spot at Hunt Library. I’ve sat in this very spot for four years and have seen the sun sink below the horizon countless times but right now, it feels bittersweet. Soon I will be ending this chapter in my life and beginning another. It is terrifying and exciting and surreal all at once. I’ve been a part of PackFashion since its inception in 2016, first as Lead Photographer and now as Editor-In-Chief. My primary goal in this organization has always been to see it succeed through the demonstration of creativity that we all have here at NC State. I think, as you’ll soon find out in this issue, I’ve reached my goal. It would not have been possible without the help of my incredible team whose tireless efforts have made this issue of PackFashion what it is: a masterpiece (in my humble opinion). Each person who contributed to this issue of PackFashion has worked harder than ever. We look to explore the world of fashion and those who inhabit it, to push the boundaries of thought and opinion, to challenge you to look at the clothes you put on your body a little differently-- a little more mindfully. We also look to give students at NC State a place to let loose, to stretch their creative muscles and create something that has a larger purpose than something we turn in for a grade at the end of the semester. But what I think we really strive to do is push the boundaries of what fashion is. In this issue, you’ll read about what my favorite professor is doing these days, understand the influence of fashion on music and politics, and explore the gritty, detailed, and creative side of fashion photography. I hope as you read this magazine, you feel the love we’ve poured into volume five of PackFashion. To those who have made this magazine possible, I give a hearty thank you. My family and friends, for their encouragement, Jasmine Mason, for starting it all, Tompkins Textile Student Council, for providing funding and guidance, Wilson College of Textiles and Susan Fandel, for providing a home for our magazine, and most especially to our contributors and readers, for which none of this would have been possible had it not been for you all. As I close this chapter in my life, I open up a new one for a particular person. She is dedicated, passionate and will push the limits of PackFashion further than I had time to do. I am so thrilled to see her take my place as Editor-In-Chief next semester. Hannah Williams, to you I leave our legacy. May you let PackFashion soar.

Megan Singleton Editor-In-Chief

Editor in Chief Deputy Editor in Chief Creative Directors Lead Stylists Lead Photographer Social Media Director Modeling Director

MEGAN SINGLETON ISABELLE PRINGLE HANNAH WILLIAMS SAMIA USMANI MACKENZIE PIERCE MEGAN EARLY LILY O'BRIEN TARYN HOFFMAN ARIANA FERREIRA

JON COPES MARA HARRIS MORGAN SNOW SCHUYLER BROADWAY SUMMER PERKINS Hair/Makeup Staff Models

Creative Staff

Writing Staff

Photography Staff

Stylists

ALESSANDRA RAMIREZ ALLY WYNNE JON COPES LARA RABINOWITZ HARRISON KAUFMANN Nâ&#x20AC;&#x2122;DEA PICKETT ANNE GRAF CAROL LILLY CLOOS CAROLINE KOTTERER EMILY ARNHEITER AUDREY ROH JENNIFER CLARK MADI LANGLEY MAGGIE JARRETT MAY CAUDILLO NANDI BRYAN NGOC NGUYEN OLIVIA ZALECKI VIDUSHA RAO ALEX JONES ALEX NEIGHBOUR ASHLEY IRWIN BAILEY TESH BAILEY WILLIAMS CAMDYN CONNER CLAUDIA FLOYD DIANA MENDEZ PADILLA HAILEY LILLIOT HANNAH STOLTZ JAY MARTIN

Social Media Staff

MORGAN PETERSON DIANA MENDEZ PADILLA ALESSANDRA RAMIREZ ANNE GRAF BRIANA MILLER CAROL LILY CLOOS DESTINI MORTON DEVAYANI H TAYWADE PATIL EMILY STOLARCZYK EMMA WADE HALEY WOOTEN HARRISON KAUFMANN JAY MARTIN KAWTHER ASAD LEEMAN SMITH LILY O'BRIEN MADISON NEELEY MAGGIE KIMMETT MAKAYLA MACK MARGI VYAS NAKYRAH RADNEY NATALIE CODY NATHAN KOHN PAUL FINKE RICKY HERRERA RUTH WILSON SATA SCOTT SOFIA ESCOBAL THOMAS ELLERBE ANASTASIA SHYMONYAK COLLEEN CLIFFORD

2 letter from the editor

staff

14 10 golden grain

19 concrete union

38 factual fashion: jacquard

faux fur vs. real fur

24 the marvelous dr. matthews

39 celebrating your inner beauty on a budget

8 posh or political

16 music and fashion intertwined

26 contemporary

by EMILY ARNHEITER

The role of fashion in historyâ&#x20AC;&#x2122;s daring political movements.

acarregui umal Z s a om

razia Chiuri r ia G a M

Illustrations MEGAN SINGLETON

s there a place in fashion for politics? As you pick out your outfit for the day, you may skip over simple pieces of your wardrobe without acknowledging the years of history and significance behind them. Fashion enables us with the freedom to express our individual style and opinions. Did you ever think of your wardrobe as having the potential to make a political statement? Political dressing is defined as a concerted effort by a group of individuals to call attention to a social issue by dressing in a codified style. In recent years, designers such as Dior and Tommy Hilfiger have integrated fashion and politics in striking displays of advocacy for some of the world’s most pressing controversies. The beret debuted as a simple flat, felt hat, dating all the way back to the Bronze Age in Italy and Denmark. Europe’s poorest farming and artist classes donned these hats and they became a commonality among peasants in the 14th and 15th centuries. It wasn’t until the 1800s in which the beret first symbolized a political movement by leader of the Carlists, Tomas Zumalacarregui, in Spain. Years later in the 1960s, Che Guevara and Fidel Castro revived the political significance of the beret in the Communist vs. Marxist revolution against the Batista government in Cuba, both wearing black berets as they rallied for supporters. Following this, members of the Black Panther party adopted the hat as their own to celebrate their blackness in the 1970s. Today, after years of history behind the black beret, another meaning is added to its significance: where politics and fashion collide. The black beret made an appearance atop the heads of Beyonce’s backup dancers, dressed as Panthers, during the 2016 SuperBowl halftime show.

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Tommy Hilfiger, Thakoon, Prabal Gurung, Phillip Lim, Dior and Diane von Furstenberg also integrated white bandanas in their shows as a symbol of inclusion and support for the #TiedTogether movement. Business of Fashion’s movement challenged the global fashion community in 2017 to make a statement by wearing a white bandana as “a sign to the world that you believe in the common bonds of humankind - regardless of race, sexuality, gender, or religion.” The trend premiered at Tommy Hilfiger’s show before being adopted by other major designers and creative directors, worn by celebrities such as Rihanna and Chimamanda Ngozi Adichie, and welcomed by followers of fashion globally. A picture can be worth a thousand words, but what about an outfit? In modern times, our outward appearance has taken on an additional function - to advocate or stand for our rights and beliefs. I am proud of the thousands of women and men around the world who have chosen to use their free expression of dress to address the inequality, discrimination, and oppression that has so violently captured society in its hateful grasp. Consider your own values and opinions, then challenge yourself to use fashion in an unconventional way.

Ch eG ue

ra va

However, my favorite political demonstration was Maria Grazia Chiuri’s showcase of her ready-to-wear collection in Dior’s 2017 fashion show. In the emboldening finale, 68 models walked in

the same black leather beret, representing centuries of protest and revolution. Maria Grazia Chiuri highlighted the importance of feminism and female empowerment in Dior’s show, a movement close to her heart and increasingly supported by Dior since Grazia Chiuri’s debut as creative director. In addition to the black berets, t-shirts printed with the words “We Should All Be Feminists” and “Dio(R)evolution” were revealed on the runway and on every seat were white bandanas decorated with bees that read, “Feminist: A person who believes in the social, political, and economic equality of the sexes.” Maria Grazia Chiuri sought to encompass the desires of women from every walk of life in this ready-to-wear collection, ranging from daywear to evening wear with varying levels of frills and femininity.

Model ARIANA FERREIRA Styling SUMMER PERKINS Photography VIDUSHA RAO

Model LILY Oâ&#x20AC;&#x2122;BRIEN Styling MEGAN EARLY Photography MAGGIE JARRETT

golden grain Interiors DEANA NGUYEN

Model DEVAYANI TAYWADE PATIL Styling MARA HARRIS Photography MAGGIE JARRETT

Model PAUL FINKE Styling MEGAN EARLY Photography LILY O'BRIEN

he thought of adorning our bodies in the skins of what used to be living, breathing beings shocks and horrifies most ethically-aware fashionistas. But is it that cut and dry? Does wearing fur really equate someone to Cruella de Vil? I s faux fur a godsend, alleviating us of all our ethical fur-related concerns? The answer may not be as clear as one might think. The well-known downside of using real fur is that it is cruel to animals. It seems bizarre that humans have taken to killing multiple animals just to produce a singl e fashionable outfit. While one can rationalize using furs in colonial days, due to the lack of alternative garb, continuing to kill these animals hundreds of years l fur. Fur is also bad for the environment. Obviously, it is an ecological tragedy for endangered species to be killed for their fur. Of course, the industry regulates fur harvesting, so it is much less prominent now; however, poachers continue to illegally harvest animals for their coats, in spite of the industryâ&#x20AC;&#x2122;s mandates. The other environmental issue with fur is that in processing it, harmful chemicals are used, which can be bad for the workers and can pollute the surrounding land. Speaking of which, lots of land has to be clearcut to farm fur, which is a more common method for procuring fur, as opposed to hunting. When this land is leveled for the farms, the preexisting natural habitat is destroyed, often causing an imbalance in surrounding habitats, which radiates outward like a ripple on the surface of a pond. The development of a tiny farm can cause ecological harm for many years. That is all pretty doom-and-gloom, but there are some upsides to using fur. For instance, it is good for the economy and provides jobs. It is also great to combine with other farming because it requires more work in the winter when traditional farming of flora slows down. The meat from the fur animals can be used for human consumption or to feed other ani mals that will eventually work their way up the food chain and onto our dinner plates. Meat is not a very sustainable food source, but at least this way none of the animal goes to waste. The same cannot be said for the meat industry. There has also been some indication, but no hard evidence, that hunting and 14

Model ARIANA FERREIRA Photography LILY O'BRIEN

trapping animals for their fur helps control certain animal populations. This is vital in maintaining the balance among ecological systems. In fact, an argument could be made that fur farming is sustainable because as long as humans do not kill all of the animals (or the planet in the process) then the fur will not run out. But what about faux fur? Where does come in? Do we champion it as the ethical choice, because no animals are harmed in the making of faux fur? While we cannot trivialize this aspect of fur’s fake cousin, we cannot ignore the disadvantages of faux fur.

by ANNE GRAF

Faux fur is worse for the environment than real fur, because it is made out of petroleum, and is thus non-biodegradable. This means it is polluting in production, and does not break down, so will sit in landfills for up to 1,000 years (by contrast, real fur can break down within a year). Even before the faux fur breaks down as you are wearing it or washing it, the garment sheds microplastics, which are extremely detrimental to the environment, and in particular to marine life. To top it all off, it takes three times as much energy to create faux fur than it does to harvest real fur. This energy comes from non-renewable, air-polluting sources so the downsides to this are pretty obvious. If harming the environment wasn’t a large enough deterrent, then consider the human side of the equation. While the production of faux fur has created more jobs, for the most part these jobs are hazardous and low-paying. The chemicals used to create the faux fur is extremely bad for human health and since work like this is usually outsourced to developing countries, the pay and worker’s rights are not well regulated. Finally, the utility of faux fur just does not compare to that of real fur. Faux fur is not as warm, soft, or nice-looking as real fur. It is cheaper and easier to care for though, which often labels faux fur as the “economy” option - giving real fur the label of luxury. Real fur kills animals, faux fur kills the environment. Or rather, humans kill both animals and the environment in the pursuit of fashionable clothes. In turn, both methods of obtaining fur impact humans: the underrepresented, over-exposed to chemicals, working class that inevitably gets screwed over by the whims of the powerful, but detached, fashion CEO. So, which fur is better?

Illustrations NGOC NGUYEN

usic is the soundtrack to our lives. Whether you’re waking up in the morning, walking to class, or taking a shower music can accompany these small activities. Putting together an outfit requires much more than just background noise. When deciding on whether to wear those edgy ripped jeans or trendy high-rise bell bottoms, our phones can be a good resource for finding inspiration from celebrities. Over the years many famous musicians have collaborated with large fashion companies, Kanye West getting involved with Adidas and Lady Gaga with Versace are just a couple examples showing how music and fashion go hand-in-hand. Going back as early as the 1920’s one can see the influence music has on fashion. Jazz was born from the influences of Western traditional music and African Dance, and was almost exclusively played at speakeasies and nightclubs where the scene was ethnically diverse. The music was in fact very scandalous for the time period because of its allusions to X-Rated subjects and was often referred to as “The Devil’s Music.” Moreover, jazz music had strong feminist undertones flying in the face of traditional women’s roles. Clothing became loose so one could freely move when dancing to the “Charleston” or other famous dances. In the Fashion Source book of the 1920s, Author Peacock states that an average ensemble for evening wear in 1927 would consist of: "A sleeveless mesh dress embroidered with gold sequins, a low V-shaped neckline, a loosely fitted bodice, and a flared short skirt. Gold kid shoes and matching handbag, along with a long string of pearls." Flapper fashion was a mark of rebellion, and as this style took off jazz music became more widespread and slowly changed the minds of the older generations’ thoughts on the devil’s music. Although, Vogue had already been established, it really started to have an influence on consumers during this turning point. Fast forwarding to the trippy, psychedelic, vibrant decade of the 1960’s, rock evolved from artists such as Bob Dylan, Jimi Hendrix, Janis Joplin, and many more. Amidst the Vietnam War something called the “counterculture movement” came about with the goal of attaining peace and prosperity. Music became more about free love, recreational drugs and was instantly more psychedelic. As a result, clothes became loose and relaxed with bright colors and patterns influenced by Native American and Middle Eastern cultures.

In the 1960’s the British Invasion took over with bands such as the Beatles, Rolling Stones, and the Kinks gaining cult followings from teenagers all over the world. It was during this time when designer Mary Quant created the iconic miniskirt for the emerging youthful, fun-loving culture. Only a few years later came the 70’s when the iconic band we love and know today as Queen became popular. Recently, the movie Bohemian Rhapsody was made to celebrate the band and its extraordinary lead singer Freddie Mercury. If you haven’t seen this film yet I suggest you do not only for their music, but for the amazing clothing. Freddie Mercury was a man of his own mind; he went against the norm and this movie displayed his flamboyant, glamorous style in the highest respect. He once said, “I’m not going to be a star, I’m going to be a legend” and he has managed to do just that by withstanding the bounds of time. Skipping a decade or two into the future, we come to the 90’s when grunge began playing on the radios for all the angsty teenagers. Tired of the commercialized suburban life, Kurt Cobain used his anger and raw talent with bandmates Krist Novoselic and Dave Grohl to give us Nirvana. The music is gritty and filled with emotion over a heavy bassline which lead to an unpressed style in fashion. Denim, flannel shirts, and leather jackets were all the rage to the lacklustre unkempt look this genre stood for. Cobain helped set

the millennial idea of androgyny such as our beloved David Bowie did with his eccentric style. Vogue describes Cobain as having had a "Seattle thrift-store look that ran the gamut of masculine lumberjack workwear and 40s-by-way-of-70s feminine dresses." The 90’s birthed hip-hop, a genre that mixes influences of R&B, reggae, soul, funk, and rock. The eclectic mix started out in the Bronx from famous musicians like Grandmaster Flash and DJ Kool Herc. Lyrics would often reflect images of flashy lifestyles and high-end gear rappers would wear. Hip-hop artists began collaborating with fashion designers which created a style known as “grime.” Dapper Dan was a famous fashion designer known for creating garments that took ideas from major fashion labels in an affordable way for people with disposable incomes. Today his influence can be seen with premium streetwear brands like Supreme, collaborating with Louis Vuitton and Gucci. With all that being said, it goes to say that music and fashion interact simultaneously. Trends in the music industry are most likely to have an effect on the fashion industry. The fashion of each genre can be seen over time dating as far back as the roaring twenties. The interconnectedness between music and fashion are continually birthing new ideas and we couldn’t be more excited to see what the future brings.

by CAROLINE KOTTERER

concrete union

Model NATHAN KOHN Styling MACKENZIE PIERCE Photography LILY Oâ&#x20AC;&#x2122;BRIEN

Models EMILY STOLARCZYK, KYRA RADNEY Styling MORGAN SNOW, HANNAH STOLTZ Photography NGOC NGUYEN

Model EMILY STOLARCZYK Styling MORGAN SNOW Photography NGOC NGUYEN

Model PAUL FINKE Styling ALEX NEIGHBOUR Photography LILY O'BRIEN

Model HARRISON KAUFMANN Styling JON COPES Photography MAY CAUDILLO

Model SOFIA ESCOBAL Styling JON COPES Photography MAY CAUDILLO

hen considering professors to feature in the PackFashion Magazine this semester, Dr. Delisia Matthew’s name came up numerous times with great admiration from many people. Friends of mine reminisce that she was the best teacher they ever had or even that she is the “coolest” person that they have met, among other congenial compliments. Others commented that she truly took the time to know them, both as a student and a person. These kind affirmations are more than true after spending a morning with her at a local Raleigh coffee shop discussing her work outside of, and at, NC State. Having worked for Walmart, Nordstrom and Procter and Gamble in their respective marketing-research branches, Dr. Matthews is extremely well versed in a multitude of areas of fashion. Raised by a professor mother, the value of education and teaching others was instilled into her early on. While seeing her mother teach throughout her life, and eventually becoming the dean of the Business School at St. Augustine’s College, Matthews “was able to see her [mother’s] impact from being a professor but also in administration.” Matthews “knew [she] always wanted to do [teaching] down the road but ended up getting an opportunity to go full ride for [her] Ph.D. at the University of North Carolina Greensboro.” Matthews decided that was the best thing to do at the time and as a result began her life in the corporate sector before deciding to teach. While working in the private sector, Matthews found that she “was kind of looking for more of a deeper impact” when it came to the work she was doing. She explained that most often the topics for the research she did companies came from the top of the corporations down and left her sometimes without the ability to research interests of her own. Today, though, Dr. Matthews has control over what topics she wants to pursue and could not be more pleased about it. “That’s the other thing that made me want to go into academia because I get to decide what I want to research now,” she says with a grin. “I get to decide what the consumer need is, what that phenomenon is that we need to know more about.”

With topics of study ranging from African

American consumers to fashion trucks all the way to eco-friendly apparel, Dr. Matthews has spent a large majority of her research focusing on what she calls “untapped consumer behavior areas” where there is “some sort of consumption phenomenon that has not been researched yet in the industry.” She then explains phenomena such as people who consider themselves “sneaker-heads” (people spending a large sum of money on shoes such as Jordans), and that the inspiration behind fashion trucks (some fashion trucks are selling bridal wear now) comes from the food truck industry as well. With these examples in two different sectors of the fashion world, it becomes apparent that Dr. Matthews’ expertise and knowledge expands beyond the fashion industry and into culturally relevant aspects of the world today too. Interested in what she would say to an undergraduate seeking a career in fashion, possibly a career like her own, she expresses the advice she would give a college student like myself, “I have always been a strong supporter of internships, internships, internships,” she explains. “You need to get that practical hands-on aspect of [an internship], because you won’t understand it and know if it’s truly for you unless you live it, right?” Dr. Matthews also adds that the experience is invaluable to future employers when one is ready to graduate and looking for a job. When asking Dr. Matthews about what she has learned most from her students when becoming a professor, her answer is quite clear: “one size does not fit all.” She explains by adding, “What I mean by that is each student has their own way of learning, each student has their own way that they like to be motivated.” Dr. Matthews takes the time to understand her students on a deeper level throughout the semester so she can better grasp how to make topics click for students according to their own specific learning styles. She focuses on allowing students to shine in their particular areas of expertise whether it is within the boundaries of a test or being more hands-on in completing projects as well. I then ask her what she has learned about herself as a professor and she responds thoughtfully saying, “I thought I was a compassionate person before, but teaching here has allowed me to stretch that a little bit. Students deal with so much on a daily basis, so they need our compassion. We all need a little compassion.”

the marvelous

Dr. Matthews by ISABELLE PRINGLE The Wilson College of Textiles professor discusses her incredible career and advice for new generations for fashion lovers to come.

Photography LISA LABARBERA-MASCOTE

Model MAKAYLA MACK Styling MARA HARRIS Photography NGOC NGUYEN Makeup MORGAN PETERSON

Models RICKY HERRERA, MAKAYLA MACK Styling MARA HARRIS Photography NGOC NGUYEN Makeup MORGAN PETERSON

contemporary (noun) a person or thing living or existing at the same time as another.

Models LEEMAN SMITH, HARRISON KAUFMANN Styling MEGAN EARLY Photography NANDI BRYAN

Model LEEMAN SMITH Styling MEGAN EARLY Photography NANDI BRYAN

Model ANNE GRAF Styling JAY MARTIN Photography MADI LANGLEY Makeup MORGAN PETERSON Hair ARIANA FERREIRA Garment by Lily O'Brien

Model RUTH WILSON Styling ALEX NEIGHBOUR Photography MADI LANGLEY Makeup ALEX NEIGHBOUR Hair ALEX NEIGHBOUR

Model NATALIE CODY Styling MACKENZIE PIERCE, CAMDYN CONNER Photography LILY O'BRIEN

Model DESTINI MORTON Styling SCHUYLER BROADWAY Photography NANDI BRYAN Makeup MORGAN PETERSON

by ISABELLE PRINGLE

t can come in a luxurious floral print, a shiny paisley loafer, or even a ferocious tiger-printed sweater. But what do all three of these seemingly different items have in common? The answer is the use of a jacquard print or loom to create the fabric. Though Jacquard has roots in the early sixth century, its popularity began to rise in the early 19th century. Named after creator Joseph M. Jacquard, jacquard sparked a revolution in the creation in the look of embellishment in clothing. More than anything, the jacquard loom helped streamline the process of creating patterns such as damask, brocade and matelassĂŠ, which were painstakingly produced by hand. What makes jacquard different is that the complex designs are woven into the fabric instead of being placed on top, which was the typical process in the early centuries. The resultant patterns are opulent to the eye and were coveted by women and men alike in the early centuries as a way to flaunt their wealth. At one point in time, the jacquard fabric was only available to the upper nobility on account of its luxe look. Designers throughout time have consistently used the jacquard fabric including brocade and damask and other intricate fabric embellishment looks in their collections. More than ever, designers are using jacquard embellishments on fabrics ranging from silk to cotton because of the increase in technology today for textile looms. For example, Louis Vuitton countless times throughout the brandâ&#x20AC;&#x2122;s more recent collections has seen a resurgence in the use of a bro-

cade pattern. A purple and blue rose patterned brocade placed against a silver background sets the stage at Louis Vuitton for a show stopping jumpsuit with ruffled shoulders or a sleek deep-cut mini dress. Vuitton has also incorporated the elegant brocade look into an oceanblue vest embellished to perfection in a variety of gold and silver hues. Gucci is another brand that uses jacquard regularly in collections. Ranging from chunky loafers to silk headbands, the use of jacquard fabric gives Gucci its trademark unusual-chic style look generated by creative director Alessandro Michele. Canadian and Turkish designer Erdem has always championed the brocade throughout his many collections. This season shown at London Fashion Week was no different with looks having been inspired by an Italian Principessa, Orietta Doria Pamphilj. Fuschia and cherry-red flowers adorned sleek black fabrics with full volume skirts while flitty cat-eyes darted on and off the runway. Today the look and feel of a brocade or damask fabric still resonates as a lavish design even as trends have passed throughout time. Maybe it is the use of many colors and shapes that draw consumers in, or maybe it is the intricate handmade look that resonates with other as well. Whatever the reason may be, the jacquard look will always reign when it comes to opulent style.

Illustrations LARA RABINOWITZ

celebrating your inner beauty on a budget by CAROL LILY

ollege can be demanding and exhausting, so it’s important to not lose touch of your inner self. One of my favorite writers, Roald Dahl, summed it up astutely: “If you have good thoughts, they will shine out of your face like sunbeams and you will always look lovely.” Self care and indulging yourself in a holistic way that treats both the body and soul are keys to polishing the kind of inner contentment that radiates your beauty. Try these tips, tricks and resources to celebrate your natural and unique self as you pursue your degree: 1.What you wear- Fashion is one of the best ways to flaunt your personality on the outside. I’ve found that by wearing an outfit I feel myself in, helps me project my confidence and more easily tackle even the toughest days with a boost of self-esteem.

5. Start a Visual Journal- One of my favorite ways to express how I’m feeling, and what I enjoy, is by making entries in a visual journal. Don’t feel limited to simply doodling. Remember, you don’t have to be an artist to make this a hobby. Write an entry about how your day went, what you’re thankful for, what makes you feel beautiful. You can illustrate these entries with everything from pen and ink drawing to watercolor and collage cut outs. And you’ll find it’s very rewarding to go back and read old entries and see how you’ve grown. It is a great way to document your college experience, and you’ll be able to remember these days in a more intimate manner.

2. Exercise- Exercising is one of the best ways to feel more confident. Not only does it benefit your physical health, but working out buoys your mental health, due to a rush of endorphins and added serotonin. Carmichael Gym is a magnificent facility at your disposal. My recommendation is the “playground,” a workout space on the third floor of the Recreation Center. 3. Meditation and Yoga- Part of feeling beautiful is having inner harmony and accepting yourself fully. One of the most beneficial ways to explore your mind is through meditation. You don’t have to sign up for an expensive class to do so, either. There are several free apps and YouTube tutorials available for college students on a budget. Free yoga classes, ideal for helping tone muscles and center the soul, are also accessible at Carmichael through the app IMLeagues. 4. Nutrition- Try to be conscious of what you eat. If you do, you will notice a major difference in how you feel. Eat regular, balanced meals, alive with color and variety. When stopping by the dining hall, add a lemon wedge to your water. It will help boost your metabolism and make your skin glow. Two of my favorite healthy snacks on campus are the Green Wave smoothie from Port City Java, and Starbucks’ sugar-free, cinnamon dolce, iced latte, sub-almond milk.

Model MADISON NEELY Photography MAGGIE JARRETT