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IMPULSE Vol.14

Spring 2019


contributors Enrique Hernandez Editor in Chief

Monica Wilner Creative Director

Jessica Badofsky

Public Relations and Social Media Manager

Emmaline Fleener

Director of Photography

Claire Martin Managing Editor

Isabella Manobianco Event Coordinator

Anna Bassett

Sammy Al-Asmar

Writer

Artist

Artists

Emma Campanella

Jack Harlow

The Threads

Writer

Artist

Artists

Ashley Weiser

Grant Johnson

Becky Tsivin

Writer

Artist

Model

Bailey Wort

Margaret Kots

Felicia Phillips

Writer

Artist

Zachary Leachman Artist

Louis The Child

Model


IMPULSE Spring 2019

Vol. 14


music

contents Jack Harlow: The One to Watch Ashley Weiser p.8

The Underground Soul with The Threads Emma Campanella p.10

Keeping Both Hands On the Beat Anna Bassett p.12

Louis the Child

fashion

art

Bailey Wort p.14

Grant Johnson p.18

School of Sammy Al-Asmar p.26 Resort 2019

Emmaline Fleener p.30

Lost in the Fabric

Emma Campanella p.38

Fast-Fashion & Forward Thinking with lulia Ciubotariu Emma Campanella p.40

Profile: Iris Van Herpen Anna Bassett p.43

The Art of Rebirth

culture

Enrique Hernandez & Monica Wilner p.44

Miami Heat

Claire Martin p.58

Filling Invisible Voids Anonymous p.60

For Nostalgic Purposes Only: Florence Through the Lens of Margaret Kots p.64 Balancing Act: Sisyphus & Doing Your Dishes

beauty

Zachary Leachman

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Editors Picks p.74

p.68


The Art of

Rebirth

p.44

Enrique Hernandez & Monica Wilner

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letter from the editor Transitions of power are rarely—if ever—easy. When it was announced in Spring 2018 that I would assume the role of the Editor in Chief of Impulse, I was at once elated and plagued with anxiety. I felt challenged to ensure an easy transition of power, but also begin to develop ideas regarding what new era I wanted to take the magazine in. The issue that you are currently reading is the result of this elation and anxiety. The fact of the matter is that cultivating and maintaining a loyal audience is extremely difficult. Consumers are always searching for the new even before they have received the present. From an economic standpoint, there is always a rise in demand, with often very little supply. In addition to the challenges posed from the audience, the primary subject matter of our magazine—fashion—is not something that is particularly interesting or relevant to a population that is surrounded by corn husks. Many individuals view the industry as cunning, relentless, superficial, and vain. However, very many do not come to the realization that the qualities that make fashion such a difficult field are the very same qualities that make business so challenging. The solution lies in finding a common ground and maintaining a consistent language that is digestible, but still uncompromising to a creative vision. The human psyche craves to be provoked, but at the same time, yearns to feel comfortable and safe. In this issue, a primary goal I had was to increase the diversity of our models. In addition to this, I emphasized the importance of having one model per shoot, in comparison to a team of models. Attention must be paid to the clothing, the model themselves, the tone, the setting, and most importantly, the reaction to an image. Fashion is a visual language that must provoke a form of desire or yearning. The writing plays a crucial role, too. This season, we encouraged our writers to produce pieces beyond the topic of fashion—and the results are astounding. We tackle eating disorders, the challenges in the age of the social, and the increasing importance of self-care. There are also brilliant interviews with our cover star, creative director, and EDM fantasy, Louis the Child. Thus, producing an issue that is at once diverse, but grounded. Change is something that does not happen overnight, and although this current issue borrows from the previous Impulse DNA, we have infused it with enough quirks and tweaks that will allow for a greater rebirth.

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Jack Harlow The One to Watch

Written & Photographed by Ashley Weiser

Jack Harlow, a 20-year-old native of Louisville, Kentucky has stepped onto the music scene, and his entrance isn’t going un-noticed. With a unique sound, a fresh style and a youthful soul, he’s ready to bring attention to a new hip-hop scene. But the young man behind the beat isn’t your typical “image” of a rapper. With impeccable word play and an infectious confidence, humble Harlow pulls inspiration from a range of sounds including Outkast, Eminenem, A Tribe Called Quest and even the likes of Willie Nelson and Johnny Cash. So, what sets Jack Harlow apart? His incredible rhythm paired with his passion for writing has curated an original sound the music industry has only begun to get a taste of. Jack is here to put Kentucky on the map, embedding the pride for his hometown of Louisville into his image and his music. Harlow’s recent relocation to Atlanta was a move to advance his rap career to the next level. He’s signed a deal with Atlantic Records and Don Cannon’s Generation Now. Harlow has since released his first official mixtape Loose with “SUNDOWN” being the lead track of his major debut. Harlow impresses with new-found confidence and ease to his rap. He flows uniquely through his well-strung verses, with contribution to his overall image. These contributions can be seen with references to his New Balance heavy style, along with Louisville culture. If you haven’t heard Harlow’s sound yet, an impressive introduction is SUNDOWN, having a more than enjoyable video to tag alongside. It doesn’t take long to tell he is nothing but a natural performer. Jack’s presence as a rapper poses a likable contrast to his bold sound and rhymes. Staying true to his roots, Harlow reinvents what it means to be a rapper, down to his signature, heavy frames, a seemingly routine pair of new balance sneaks, and we cannot ignore a heavy, but respected, COOGI polo flex. Jack keeps up a consistent image in his music videos and live performances, beginning far before the release of his first “official” mixtape Loose. Looking back to “WASTED YOUTH” of early 2018, his glasses, new balance sneakers and COOGI polo is still intact. 8 Spring 2019

A polo doesn’t necessarily strike as a hip-hop stale but Harlow’s effortlessness makes it feel right. His image is not only unexpectedly impressive but rare for the hip-hop scene. The Australian brand of COOGI is known for its vibrant color palette. After the brand take off in the 70’s, by the 2000s, COOGI’s luster was no longer. However, after some rebranding in the recent years, we can expect a comeback. Harlow’s COOGI apparel sends viewers back to an old school hip-hop scene, reminding us of Notorious B.I.G who influenced the knit sweater trend into a generation of hip-hop in 1994. Famously rapping “Livin’ better now, COOGI sweater now,” Harlow’s use of COOGI seems to pull fashion inspiration from the very era


of people that have influenced his sound. An image, we have traveled far from in today’s rap scene. Harlow doesn’t stand alone in his apparent love for New Balance sneakers. As the sneaker industry has expanded impressively over the past few years, New Balance pulls a more classic 1990s hip-hop look. Instead of wearing a sneaker that is constant talk, Harlow reminds us of a look that has been overshadowed. Notoriously known as the “dad sneaker,” New Balance is making a strong comeback among fellow rappers such as Lil Yachty, and Raekown who profess their love for the

chunky shoe. It won’t take you long to catch wave of Harlow’s relationship with the brand after checking out his Instagram account @JackHarlow. Jack Harlow has blended an effortless confidence into a new sound of hip-hop music, along with a simplified style and a more honest character than the industry has seen before. With only one official mixtape released, this is only the beginning for his career. Keep an eye out for this Kentucky native, with a style you can get behind.

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Written & Photographed by Emma Campanella

The Undergro with The Threads 10 Spring 2019


Submerged in the steamy basement so thick that colorful lights swim in the haze, I can hear the sound of pure passion. People swaying, vibrations humming through my shoes, feeling wrapped in absolute freedom. The Threads are one of those bands that make me feel warm and chilled at the same time, spreading goosebumps on my arms with the drop of every beat. “You know when you listen to a song and it makes you feel good? It makes you feel like the world is going to be okay? It’s a hopeful thing,” guitarist and vocalist Sam Abboud remarked. That’s what inspires the music. The Threads are a band from Lemont, Illinois and perform in the Chicagoland area. Made up by Sam and Nick Abboud, Justin Bell and Duke Hiatt, the band composes a harmonious sound of rock and funk that brews a new rhythm people can move to.

“they all pretend that they’ve been living / just taking turns watching the day end” -Again and Again – The Threads Nick and Sam are brothers and grew up playing and making music together. “We’ve played our whole lives,” says Sam. The two went to high school with Justin and eventually met Duke after their original bass player left. They would all get together on weekends and started playing live shows around UIUC and Chicago. In 2015 when The Threads started performing, there wasn’t much hype around this kind of scene. But the culture has certainly evolved. You can hear music seeping out of houses in the neighborhoods of Urbana. These are places where young people gather to be swept away by music and let go of any apprehension. “These house shows are legendary! There’s not many other places where people can come, get messed up and not have to worry about anything,” Sam exclaimed, sitting back in marvel.

if time could sing / just a song for you / would you walk on by / or would you listen too -Run 3 – The Threads Other bands that perform at these shows have been playing around campus for years, finding a way to balance school, work and music. But they all do it for the same reason. “It doesn’t matter [what else is going on] because you love to play music and it’s just what you care about,” Nick emphasized, swiftly rolling back his chair. The Threads demonstrate their commitment to each other in the words that overlay imagery in crimson mauve onto the walls. It is the raw emotion you can watch morph on their faces that engrosses the attention of people dancing to the pulse of the sound. To me, music is one of the most powerful forces, uniting us around tears, happiness and love. “[Music] naturally takes the forefront of [my] mental energy. It just happens naturally,” said Sam. The Threads have mastered the skill of using music to bring people together. It is bands like this and their performances that are the underground soul breathing life into the local community of Urbana. After the last song of the set murmured to a silence, the conversations of people stayed saturating the room. The bloody knuckles and callused fingertips of The Threads exchanged gratitude to the gathering crowd that waited to talk with them. Homegrown music like this doesn’t just foster an outlet for instrumentals, it brings people together. Young people, more often students, keep creativity alive and nurture a prolific side of college life not all expose themselves to. As I ascended up the stairs, a stunning cool enveloped me. I already longed again for the sultry blanket and another song.

somewhere between the details you lost the feeling / so be still and don’t move -The Cool – The Threads

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Keeping Both On the Beat

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Now the DJ is wondering… ‘How did we get into this alternate musical universe?’ Well, there is this thing called EDM… and it knew what our ears wanted before we even did.

Hands

Why genre-bending is catching on in Written by Anna Bassett catchy forms. Photography by Monica Wilner

“Damn,” “What song is this?” Every “self-proclaimed-house-party” DJ’s favorite words. Why? Because they did it! They hooked the song into their audience’s ears with ease, just like an invisible, pulsing earring. And while the song hangs on both side of the listeners head, whispering to them life’s current melodies of love, anger, inhibition, and sadness, the curious DJ sits, wondering ‘why Post Malone’s “Psycho” is the one to get people going.’ And then, ‘why everyone is so obsessed with Post Malone in the first place?’ The answer?... Musical genre bending. The climate of music is a mixed forecast with songs debuting daily that feature Folk and R+B together, Jazz and EDM, Rap and Ballad, Classical and Rock. The options are endless, at least modern musicians are making it so. They are harnessing rhythms that are loved within each channel of music and fusing them together seamlessly, like musical petri dish babies. Before consuming different styles was a mutually exclusive experience for music listeners, until the pioneers of genre bending realized…the masses would love it. And so it went and here we are, with Nelly featuring on a Florida Georgia Line song, and whether this particular duo hooks your ears or not, the charts don’t lie.

Please don’t get me wrong; I am not crediting Electronic Dance Music with the entirety of musical fusion, as artists have been collaborating since before Aerosmith and DMC ran out onto the scene with “Walk this Way” in 1975. However, there is a ton to be said for how EDM has used it’s layering and erratically changing nature to tap into music consumer’s preferences and inner melodious cravings. Not only does the genre pull in influences from instrumental backings, but also it has paved new ways of incorporating natural noises and manufactured sounds all into one. Pleasant and catchy melody aside, our curious human brains have adapted to revel in this ever changing genre. Between the natural intrigue of hearing something unlike you have ever heard before, and our own exponentially decreasing attention spans; the way EDM constantly creates, destroys, speeds, slows, bursts, hums, and pulses, is not only music to our ears, but to our minds. It is reinforcing our love for instant gratification and ever-present stimulation by serving us twenty different musical messages in one. In other words…EDM is the light causing our millennial phototaxes. As EDM and other forms of electronic music production have progressed and risen in popularity, artists of this category have continued to experiment with mixing everything into one, heart-pumping beat, and other artists have followed to the beat of their keyboard. And just like with all revolutionary art… there has been a trickle down effect. From the earliest genre-bending instances in EDM or other forms of music, to the mainstream music environment, where Post Malone is combining old school Rock, R+B, Rap and Ballad, artists continue to paint us pictures of mixed emotion. And it doesn’t stop with him; artists like SZA, alt-J, and ODESZA are forging the genre links as well. They are serving us our own complexities in colorful and confusing BPM (Beats Per Minute) packages that we cannot help but bop our heads to. We identify with it, because for the first time in musical history the most prominently listened to songs are the ones that allow us to involve multiple parts of ourselves into one track. We can hear the juxtaposition of our own episodic lives in the music and we like how it knows us so well. It is important to notice how these artists are reflecting the intricacies of human and societal development into their music through the incorporation of any music genre they want, knowing that if produced the right way, we will want it too. And while they are making the historically categorical art, a spectrum, we now find ourselves having to keep both hands on the beat to keep up with the rhythms of times. And the DJ, nods, head bumping along… hooked now and forever. Volume 14

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Louis the 14 Spring 2019


Child –Interview

Written and Photographed by Bailey Wort

On producing, writing, and their passion for music, this is: Louis The Child. Impulse Magazine’s Bailey Wort caught up with Robert Hauldren and Frederic Kennett of the production-duo Louis The Child in anticipation for their third annual Friendsgiving show in Chicago, Illinois’ Aragon Ballroom. Here are the highlights.

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music Describe the lifecycle of one of your songs. LTC: Every song is pretty different. It will usually start with either something that we make randomly at home or on the bus or in a hotel room. [Other times] we have a day booked out at a studio with another artist to make a song, so we start something with [the artist] right then and there. [Occasionally, we’ll] make something ahead of time and then we meet up with an artist and play them a couple beats [and they like it, so we’ll go with it] Then we write to [the beat] and keep developing the song. Every song is totally different. It always just starts with some kind of production idea or some little drum group or some little loop of a synth or something. Do you typically start with the conceptual aspects of a song or a beat? LTC: Any of those things. It can start with a concept, or a lyric, or a melody idea. [Possibly] a string line, or something [along those lines]. We don’t start with the same thing every single time. It’s really whatever feels right at the time. Then we build around a cool aspect of the song and then try to make the [rest of the song fit around it]. Obviously, you’re the brains behind the beat. How involved are you on the lyrical side of your songs? LTC: We definitely enjoy writing a good amount. Also, we make sure that the song concepts are something that we [believe in], or something that we think could help someone in the world or [a concept that someone can] connect with. It also does depend on the artist. There are some people who are insanely good writers and you [just have to let them take over]. They nail it. It all depends. We definitely do like to have a hand in the lyric writing to make sure that it’s something that we believe in and it’s something that we can stand behind. What was your favorite song to produce off of your new EP Kids At Play? LTC: Oh Baby was really fun to produce, just because of how crazy it is. There is so much going on, because of the drop and everything. LOVE was really fun to produce and it came together really quickly. [However,] Better Not is my favorite, because of what the song has turned into and how loud people sing all of the lyrics. Seeing [the crowd] go so crazy to the drop at the shows is unreal. Everyone felt this really awesome energy in the room while we wrote it with Wafia. Everything came together so naturally. [When we were in the studio, we all said] ‘Oh my god, this song is so good. We love this’. We couldn’t stop listening to it. I know you’re both from the Chicago Area. You’ll be coming home to play there this Friday. Can you describe what it is like to play in Chicago? LTC: It’s awesome. It’s definitely something that we get more excited for. This will be the third year in a row where we’re

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playing in Chicago the day after Thanksgiving. This is the second time that we’re calling [the post-Thanksgiving show] “Friendsgiving” and [playing it] at the Aragon ballroom. What’s really cool about [this show in particular] is that [it is right after] Thanksgiving, so all of our families are in town and it’s the show that all of the extended family gets to come to. You get [to bring] your aunts and uncles, and your grandparents, and all of your hometown friends. It’s the show that your hometown and your family gets to [experience]. It’s always a fun show where we get to show all of these people what we’ve been doing, what we’ve been working on, and how we’ve progressed. It’s crazy to be able to play a venue [as famous] the Aragon Ballroom in Chicago. We’ve both seen tons of shows there and grew up always wanting to play at certain venues in Chicago. The Aragon has always been one of those [venues] that [would be] a dream to play. It’s really crazy that we get to have our own show there. [Especially because] it’s the second year in a row that it’s sold out. What is your favorite show that you’ve seen at the Aragon? LTC: That’s hard. We saw Worlds by Porter Robinson there. That was probably my favorite show I saw there. The Neighbourhood show was really good a while ago. What would you say the key to your success is? LTC: Patience and dedication over a long period of time. Working [with a team towards] one common goal. What music are you guys currently into? LTC: I’ve been listening to a lot of Lo-Fi House lately, been digging that. The new Joji album is pretty cool. The new Vince Staples album is really good. Sheck Wes. Phish is awesome. New Whethan is dope as well. Dominic Fike is crushin’ it. We’re always listening to new [music] and we have a very broad music taste so there’s typically no genre that we’re not listening to – except country. Don’t really like country. What keeps you both passionate about your work? What continues to excite you about music and wanting to create? LTC: Just being alive. It’s what we do. This is who we are at this point. Making music is as normal for us as breathing or drinking water. Also, you never know what’s going to happen when you sit down at your laptop or when you go to the studio that day. [Who knows] what’s going to come out of that session or what’s going to come out of that day. You could write the greatest song you’ve ever written. We might end up writing the greatest song ever right after this. Louis The Child’s music can be found on Spotify, Apple Music, and YouTube.


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artist art feature

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This digital photo series was submitted by Grant Johnson for Impulse and explores the dichotomy between the art of dress—both in adornment and physical clothing.

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GJ: These photos stem from a larger series where I am trying to blend fashion photography with landscape shots and self-portraiture. I decided to use masks as an element within these photos to shift focus from the model, to the clothing and the human form, as opposed to drawing focus on the face. The ambiguous, uneasy feeling the masks gave these photos was an element I was aware of, and I was hoping to take advantage the tone through their usage. I somewhat enjoy making people feel uneasy, or even kind of scared, with photos like these—I take pleasure in exploring the deep fascination people seem to have in the dark, mysterious, and unknown. I used a variety of different spaces, outfits, masks, and poses to make every shot as varied as possible, much like how my own (and many other's) clothing tastes, emotions, thoughts, and experiences can vary. This series is very personal, but distanced at the same time, under the guise of a pseudonymous type of presentation. I think this is often how people like to present themselves in social contexts in present day; trying to hold onto the shreds of a perceived anonymity that can no longer exist in the modern world.

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...trying to hold onto the shreds of a perceived anonymity that can no longer exist in the modern world.

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School of

Sammy Al-Asmar

Ode to Rocky Fork Road Written by Sammy Al-Asmar

26 Spring 2019


These graphics hold the juxtaposition of my chase for selfgratification, yet also a symbol of something I try to run away from: competition in the art community. Through all of these graphics, I reached absolute exhaustion for I attempted to “out-design” other designers and people I look up to. Each one of these pieces appears extremely different from what I intended to originally complete. In this I can say that I accelerated my artistic vision by doing this, but I also did not give myself room to love, only room to critique to my utmost ability. Every detail within these graphics were compared and calculated to my absolute best ability with each new graphic I made. This has only given wider range of things not to do, not what to do or where to go. I have been making these graphic pieces for about 6 months now, and I do not have anything to hold onto. I can only say that I am attracted to vulgarity over anything, but when approaching these graphics, it’s never what I should aim for, but what not to aim for. This is an absolute shot into an abyss of design with no clear end. Within every single graphic I made, my main feeling was exhaustion clouded by a slight feeling of self-gratification. With no aim, there is no end, and with no end, comes a sense of always longing for something wrong. As I newly entered a didactic approach to art, I saw this as positive instead of negative. I started to realize that most things that I was doing was trying to get ahead of other designers, and I started to become very jaded with not my work, but myself as a person. Was my work just a byproduct of someone else’s? Am I just a byproduct of someone else? Was I even unique enough? Will people like my art? Will people like me? All these conflicts, in self-identity stem from graphic design. But I do like graphic design, and I know the answer to all of my problems. I just had to figure out how to be me, the absolute version of myself that I can possibly be in every situation from now on in life. At this point, it was an all-out battle to accept me, my experiences, and my ability to communicate how I see the world, no matter how disgusting. Growing up in shitty parts of Tennessee and the Middle East in Jordan and Palestine, vulgarity mixed with a manic angst is the root of it all for me. This is my art school. To be the absolute version of myself and not compete with anyone. No one wants to see a rehashed Basquiat or Bacon. Everyone has their own manifesto and they come into it naturally when the time is right and edit it as time moves on. Things like art cannot be forced or enforced. It only took me a year of art school where I got great grades but could not translate any work I had done into anything meaningful. You just have to go through this learning and searching phase yourself. Learn to be yourself, not who you would like to be.

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Resort 2019 Photography by

Emmaline Fleener

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This year’s S/S runways featured resortwear consisting of flowing dresses, ruffles on ruffles, and huge, oversized earrings. Among the designers, one of the most notable was Carolina Herrera, with her pieces sporting bold floral prints and statement accessories that caught the eye. In addition to Herrera, Zimermann’s resort collection was elegant and gentle, most notably for the collection’s soft lines and floral appliqués. For this shoot, I knew I wanted to pull inspiration from these collections, but take the resortwear and make it wearable for every day, and more importantly, for an attainable customer. For the first look, I styled Felicia in a long flowing dress with a ruffled top-hem, and paired it with giant hoops. For the second, Felicia wore a ruffle top reminiscent of Herrera’s printed dresses paired with wide leg crop jeans to create a more casual, street look. Another pair of bright earrings was added to pull the look together. For the third look, I wanted the focus to be on the oversized tassel earrings, and so I kept the outfit simple with a jean skirt and white ruffle-sleeved top. The results exude the confidence one might feel as soon as the weather gets warm again.

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Lost in the Fabric fashion

“Fashion you can buy, but style you possess. The key to style is learning who you are, which takes years. There’s no how-to road map to style. It’s about self-expression and, above all, attitude” -Iris Apfel

Written by Emma Campanella Photography by Monica Wilner

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Freshman year of college I strolled into my first class wearing blue glasses and a navy polka dot dress that looked like it was from the 60s. My hair was pinned back to reveal golden hoops that brushed against the sides of my cheeks. I felt elegant in the way my dress flowed with the breeze and how the click of my flats caused eyes to snap up. It was easy to brush off the strange glances that sometimes met my glance. I had been dressing however I felt like for years and was used to this kind of thing. Since when did it become okay for judgment to gloss over the eyes of others and lay steady on their lips for dressing how you feel? Are people’s identities no longer sewn into the fabrics that they wear? Flipping through the sticky pages of magazines or scrolling on social media feeds is bound to present a uniform image of what you “should” wear without explicitly saying so. Many of the big influencers and models prevalent in the media often portray wearing branded clothing as a style within itself. The abundance of almost identical outfits, neutral colors and accessories forms a social pressure for those following to live up to these expectations of what you should look like. There is a difference between fashion and style that individuals have for themselves. I feel that these are meshing together and the originality that each person has is being lost in the fabric. I’m not judging what people are wearing. I understand that the mainstream style seen in the media may actually be the style that people identify with. I instead want to focus attention on how insecurity and lack of confidence can drive people to wear what they wear just for the sake of fitting in. Conformity in psychological terms is social influence that pushes others to change their beliefs and behaviors to fit in with a group. This rises from both physical and imagined social pressures stemming from the social norms that are portrayed in everyday life and the media. People who are more likely to conform are scared of rejection from a group and want to be

accepted as “one of them”. It’s a really interesting topic to learn and there have been many studies conducted to back up these concepts. Fashion is one of these social pressures that can cause people to conform. They may be looking for guidance when they are unsure of what is socially acceptable, but may be leaving their own interests out of the clothes they buy. With constant marketing in the media for branded clothing and the spread of stores like Zara and Urban Outfitters that tailor to mainstream trends, there isn’t much room left for originality. Some people are so obsessed with fitting in that their true identity might not be shown through what they wear. Sure, clothing is only one aspect of self-expression, but it is the most visible one. What you wear makes a statement if you intend for it to or not. With whatever style you possess, there is bound to be judgement by other people. But is their opinion really that important in the long run? Self-confidence is something that is built over time. It took me years to learn not to care about what others thought of me in terms of how I dressed. Other than what is physical, self-confidence also has to come from within. As a society, it is important that we try not to pass on judgment or reject those being original to themselves. We are all wandering through this place we call Earth, slowly sewing together the pieces of ourselves. It’s rough. It’s awkward. It’s difficult. But none of us would be able to understand everything that happens in our lives unless we experience it for ourselves. I know that style and what someone wears might seem insignificant to some, but it is a way of self-expression. We should all work towards being more accepting of each other and our appearances. Finding your style can only boost you up and give you that little bit of sass necessary to carry confidence throughout your day. My mother always told me to be myself and never care what other people think, so it’s no surprise that I walked into kindergarten wearing a feather boa and sparkly flats. Volume 14

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Fast-Fashion

Forward Thinking

&

with lulia Ciubotariu

Written by Emma Campanella

At the ripe and young age of our early twenties, we all are stitching our own embroidery of life. Each stitch pulls our image and self-expression closer to becoming something whole. Style is a vital piece of showcasing who you are. Around campus, you can find many people settling into themselves and accepting who they have become and are becoming. One of those people is my friend and roommate Iulia Ciubotariu. She seems to embody her true self and has always stayed true to her beliefs and what she cares about. She is passionate, smart and artistic like you wouldn’t believe. Take one look into her closet and you would be astonished by the sea of fabrics neatly organized and the accessories organized in beaded jars. Each item is unique and valued for individual reasons. Every morning she brings unexpected items together into one beautiful creation. Every outfit is like a piece of art. But with anything she wears, she wears it with confidence. “I have a trendy grandma style, like a classy grandma with a hint of hippie,” Iulia gleamed. She isn’t wrong. She’s had an eye for a classier edge since fourth grade, drawing inspiration from the fictional character Nancy Drew herself. She hasn’t always owned this confidence with the outfits she’s flaunted. “[My style] has definitely evolved. I felt very embarrassed dressing how I did when I was younger because nobody really went for a style, especially not something old-fashioned. But I stuck to it and eventually I was like ‘oh well’, I have my own unique style that people recognized. I wanted to keep on doing it,” she reflected. Volume 14

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Iulia was born in Romania and lived there for 7 years until she moved to the states. Though she left her first home and some family behind, she brought with her the culture and memories hand-knitted by her family members. Her style inspiration draws upon her background. “I do get a lot of ideas from European street style. I’m European and I want to stick to what people in my country do and try to look fancy all the time,” she said. There’s a lot of value when incorporating one’s culture into their everyday life, especially through clothing. Iulia carries the pride of where she came from physically on her body. Finding her clothes is not something ever planned. She usually resorts to thrifting; she loves how everything she finds is a surprise. Her favorite item of clothing, a silk blouse decorated with hotel advertisements, was one of her best finds. “If I could be a shirt, I would be this one,” she laughed. Iulia is somebody that advocates for sustainability and ethical solutions and shows that a difference can be made through simple changes in lifestyle. “I think we are destroying [the world] slowly, so we need to do something for it instead. The more people we get to help, the more changes we can make,” she said with passion. The biggest concerns coming from the fashion and clothing industry stem from unethical and unsustainable clothing production. The fashion industry has found to be the second biggest environment polluter worldwide. With fast-fashion trends ending quicker than we can catch on, the clothing industry contributes to enormous amounts of waste (overproduction). On top of that, workers that help produce the clothing for big companies may be treated unethically and receive low wages for their long days of work. This could even include child labor. The good news is that there are companies out there that focus their efforts on creating clothing that is sustainable and ethical, like Reformation. Many more consumers are starting to become aware of this problem that hides within the piles of clothes in their closets. There are many reasons why fast-fashion is so common in our society. Trends shown online and worn by celebrities displayed through social media creates a feeling of need within consumers. “Companies make a lot more money from people wanting to be a part of these trends and they use social media to exploit people,” Iulia explained. “Lower prices are very tempting to give in to. You don’t realize at first what it is you are buying into until you learn about it.” That’s the problem today. People don’t understand the how their clothing purchases are negatively impacting the world. There are still ways to satisfy the style you glow in without damaging the environment. Thrifting is much more sustainable than shopping at fast-fashion stores like Zara and H&M. “Thrifting just makes so much sense. [Thrift stores] are very selective about what they bring in and you could find some cool pieces,” Iulia explains. Purchasing clothing at thrift stores reduces the waste and pollution that big business neglect to consider. It is cheaper and often times the money will go towards a charity like Salvation Army. Iulia doesn’t compromise her taste and ability to find cute clothing. “I’m always going to love clothing and having a lot of things, but I don’t want to harm the environment (or my wallet) because of that. So a way to do it is to stick to environmentally friendly or sustainable companies and clothing.” Iulia’s closet has an abundance of loafers, scarves, pleated pants and blouses. For the most part, all of it is from responsible companies and thrift shops that focus on providing quality pieces that last for a long time. She continues to show that style and fashion can be obtained while maintaining the values of wellbeing and the environment. There doesn’t have to be a sacrifice for fashion and Iulia keeps advocating for more green choices. “I know my change doesn’t have a big impact, but if I can inspire others than [the impact] gets bigger and bigger.”

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Iris Van Herpen

Profile:

Written by Anna Bassett

If you have ever been in an argument with someone about Fashion’s place in the art world, you know the frustration of trying to make closed minds open to one of the most meticulous disciplines. However, this article may offer you quick relief and a winning point, as the revolutionary and seemingly super-human, Iris van Herpen, redefines design and material construction. The 34 year-old, Dutch, fashion designer is changing what it means to use technology to produce beauty. For many common consumers, van Herpen is not considered a recallable name of the fashion world, but in reality she is a dominating force of innovation and vision. She has won a multitude of awards, being recognized by the EU Commission, the French Ministry of Culture and more, while constantly having her works showcased in museum exhibits around the world. A few of her most prominent designs were even showcased in a little event called the Met Gala. (Go ahead and ask you argument opponent now, “The MET Gala, Ever heard of it?” No? Then end the conversation ASAP!) If you are still not familiar with van Herpen’s work, she has pioneered the use of 3D printing technology in couture design, that has birthed a whole new realm of designs that could be

studied for hours without full comprehension. Notice, to the right, the famous “Skeleton Dress”, featured in the MET Gala ,“Manus X Machina” Exhibit, made for her Capriole Collection. Iris van Herpen creates an infinite number of alternate universes of clothing with each subsequent collection, by drawing on almost every division of our surrounding world. A few different atmospheres of inspiration have been “the world in microscopic view”, focusing on the intricate detail of preserved microorganisms, “the study of cymatics” or the way in which sound waves can be translated into visual geometric patterns, “the blending of nature and architecture”, where the unpredictability of nature meets a stable structure, and “terraforming”, or the concept of another world that mirrors and reconfigures the biosphere of Earth. These collections are not conducive to the superficial thought process, and the complexity of each is perfectly transposed into each piece. As a high fashion designer, Iris Van Herpen uses her futuristic mind and modern technology to destroy boundaries that other designers are years from, while perfectly blending the natural and digital worlds. Below are some extraordinary examples from multiple collections.

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The Art of

Rebirth Written by Enrique Hernandez Photography by Monica Wilner

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It is just a quarter past one o’clock in the afternoon and somehow it feels as if it were rush hour. However, arriving to the city after spending three months in the desolate cornfields of Champaign, one could assume a mere car passing by as “rush hour.” Rebecca Tsivin, a Senior Psychology major at DePaul University—in the city of Chicago—does not quite identify with the new era of “Insta-girls.” Instead, Tsivin is in a lane of her own, directly collaborating with Mejuri, the fine jewelry brand that is being hailed as the “Glossier of gold necklaces.” This past year alone, Tsivin has become an ambassador for the brand, and wears their collection religiously. When I arrive at her apartment, she welcomes me in with open arms, clad in a black cashmere turtleneck (which I later learned was vintage J. Crew) and a stone washed pair of Hudson jeans. On the plush couch in back of Tsivin, Impulse’s creative director, Monica Wilner, is preparing the studio lighting and meticulously laying out camera lenses on a coffee table. Tsivin and I walk directly into her closet to pull garments for today’s shoot. “I just went thrifting in Lincoln Park and I picked up so many things,” she says as she references a pile of sweaters, denim, and corduroy that have been strewn across the floor.

“Don’t mind the mess, I promise there’s a lot of good things in here,” Tsivin whispers. As we begin shooting, Tsivin allures the camera with a cunning ferocity that is both gentle and provocative—the ultimate juxtaposition. Wilner and Tsivin have been working together for years, their relationship is nearly symbiotic, much like Naomi Campbell and Azzedine Alaïa. Although Wilner is typically a shark behind the camera, obsessing over the perfection of every pose, today, this dichotomy is quite different. There is minimal direction given to Tsivin when she poses, simply because every nuance is so organic, so raw, that it encapsulates the anxiety of today: is she posing for the sake of the photo, the sake of others, or is she doing what she would normally be doing on a Tuesday afternoon, only this time with a tweed jacket adorned on her back? “There is no authenticity anymore—everything is fabricated,” Tsivin says as she sips her cup of tea at the end of the shoot. “We have reached the point where we are doing things for the sake of other people and hardly ever for the sake of ourselves.” With the meteoritic rise of Instagram, it appears as though we are all victims of hype beasts, over-edited photos, and cringe

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fashion generate content that is indicative of personal style, and in a real-life setting. In addition to this, social media serves as a launching pad for all walks of life to join the conversation. Although this is neither good or bad, it has in fact increased racial diversity, size expansion, and an attempt from the fashion industry to be much more inclusive. However, what should be expected the most from the fashion industry is for the community to acknowledge its primary fault: the industry relies on Eurocentric beauty standards and the fetishization—and mostly objectification—of minority groups to sell a product associated with an idea. “You really need to know who you are, and more importantly, believe that you are the person you are,” Tsivin says, furrowing her eyebrows and meeting my eyes. She continues, “ignoring what people think is the first step—it requires practice—and once you’ve believed it, nothing is going to stand in your way.” “Fashion has always been a form of escapism for me, there’s no reason for me to be in sweatpants all day because, put simply, it is not something that attracts me. I am attracted to beauty in all forms, and I love to dress up, even though I wouldn’t even call looking presentable as being “dressed-up,” she says cooly. College can be a strange place for fashion, and when comparing the fashion on a Big Ten campus to that of DePaul, there are clearly some major distinctions. For instance, a walk down Sheffield Avenue in Lincoln Park (DePaul’s main campus) is practically a feast for the eyes. On that November afternoon, there were trench coats, overcoats, tweed, over-sized knits, denim and leather mere footsteps from the student library. Although this could be in part due to the fact that the institution is in the city, it was nothing short of spectacular when compared to the Greek t-shirts, athletic jerseys, sweatpants, and leggings worn on a daily basis at a Big Ten school. At the end of our conversation, as I prepare to depart, Tsivin adjusts herself in her chair while staring out the window watching the Brown line speed by. worthy captions. In addition to this, the content that is being published is staged, including the occasional, meta “I am not doing this for you, I am doing it for me” post accompanied with a picture of a user shirtless or in underwear. “At the end of the day, it’s all bullshit anyway. The only person that knows who you really are is yourself and the people closest to you. These pictures? They are all just representations of who [we] can be in a given setting,” Tsivin says, this time scrolling through her Instagram feed, stopping on images that seemingly prove her point. The world of fashion has long known the art of “posing” since the term was coined. The industry thrives off of setting ideals for men and women, and moreover, clothing them with garments that would often cost more than a month’s rent in the Gold Coast. However, the most compelling change in fashion to note, is the way social media has completely democratized fashion. Gone are the days when readers would rely on Vogue, Elle and GQ to gain insight on the upcoming trends and beauty standards. Now, with the swipe of a finger, we can see and 48 Spring 2019

“You have to do everything for yourself, definitely care about those you care about the most, but all you have is yourself. Be kind.”


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“You have to do everything for yourself, definitely care about those you care about the most, but all you have is yourself. Be kind.�

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Miami Heat culture

Written & Photographed by Claire Martin

On a girls’ trip to Miami for an occasion unbeknownst to you, I had a high-level agenda in the works before stepping foot on the plane. Sometimes you have to make shit happen for yourself and not having specifics nailed down often works in your favor. Those types of expectations can lead to disappointment and that’s not something anyone has time for. You have to get the right people on board. No overthinking, second guessing, ifs, maybes, buts or “passes” on another round. The most recent lesson learned on my journey to living hard and letting go is to just say “yes”. So, I rounded up the ultimate go-getting group, those ladies who just say “yes” and have taught me to do the same. Find those people, and don’t let them go (that’s a life tip not just a Miami one.) So, what do you wear and where do you eat? Those are the two most important questions, and you can miss me with anything else. Just kidding…pools, beaches and clubs are all to follow close behind. The beautiful thing about evenings in Miami is that they’re a two in one. The rite of passage avows a recycled outfit between dinner and bars/clubs… you’re in Miami, remember? Since the time allotted in this outfit will be extended due to the duality of its function, shoe wear cannot and will not be underestimated. Every article I read pertaining to “what to wear in Miami” insisted that the highest of heels were a must. And let me tell you, listening to that nonsense was mistake number one. It is true that what you wear is expected to be fancy, however, there is a decent amount of flexibility. I wore stilettos night one and by the end of dinner (the night was still young), I was ready to make them flats –DIY. On the trek back that night, my feet were #donezo and so was my vibe. Rest assured those bad boys were retired for the weekend and I learned my lesson. Heels do not have to be your only option for dressing-up an outfit up. The nights/days to follow I paired even my nicest looks with my favorite Jeffrey Campbell lace-up combat boots. 58 Spring 2019

I even paired the boots with my black leather strapless mini at night and oversized crème spaghetti sun dress during the day— love a good wear and tear! Now onto food: there are some serious staples that cannot go overlooked, but for the sake of simplicity, I am just going to highlight two. KYU and ZUMA cannot be left unmentioned and I am salivating as I reminisce. There appears to be a connection between chefs and management, which now looking back, I am not surprised. Night one – ZUMA. Zuma is modern Japanese cuisine. The sushi is simple but deliciously fresh. As my preference with sushi is typically the more toppings the merrier, I was unexpectedly thrilled about the simplicity. The gyoza and calamari were next level, and the spicy beef tenderloin with sesame, chili and sweet soy was hands down the best flavor to ever hit my palette. Night two- KYU is located in Wynwood neighborhood, which is known for their fun art walls that you must check out while there. I didn’t think anything could top night one, but I must say that KYU did so unequivocally. The idea is to order smaller plates for the table, similar to tapas, so everyone gets a sample. The only way I got over wanting more of a plate was through anticipating that the one to follow was even better. For instance, the Korean fried chicken was followed by crispy pork belly, mussels, and crispy tuna tartare. Don’t be afraid to pair with a cocktail(s) because rest assured, they’re equally fire. Miami is perfect for relaxation—simply pick a pool or beach and enjoy the calm and the sun. Or take the rowdy route and opt in for some night clubs like STORY and LIV. Whatever you do, remember these staples and not only will your memories be unreal, but so will your Instagram.


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culture

The Filling

of

Invisible Voids

The following short story was written by an anonymous Impulse contributor regarding the handling of an eating disorder told from various perspectives involving grief, longing, and vulnerability. Readers discretion is advised.

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culture The filling of others. My nostril hairs are so tantalized by the smell of freshly baked apple crisp that I sneeze. “Bless you,” says Mariah, my amateur chef friend, whose oven, I swear, gets more use than Duff Goldman’s. Her apple crisp is meltingly divine, but it sits in your stomach like loss and a manufactured mask of happiness. The food she makes embraces your taste buds just the way you want it to after a long day of classes and work, but with each bite you realize that the intention behind the meal is too strong and sad to ignore. Mariah lost her Dad to a heart attack at the beginning of our senior year of college and literally has not stopped cooking since. This on top of the fact that the university awarded her all online classes leads her meal constructing count to be about 5 (give or take) each day. Of course, you and I are concluding the hobby as an obvious coping mechanism, but the thing is, all she does is cook for us, she barely even eats it herself. I asked her once if she preferred cooking for herself or others and she looked at me like I had said something in a different language. “Other people hands down.” Of course, her roommates don’t mind; they are always full, and happy, and the house has an omnipresent “homey” feel to it from the smell. I cannot help and look at Mariah and her meals as an expression of suffering and distraction. She pours her grief out of her into her dishes mixing in dashes of memories and sprinkles of the most-love filled moments of her life. Moments that she is trying so hard not to relive yet. (I wonder if her mom is cooking simultaneously, alone, in her childhood home.) And she gives them to us…either as a notion of kindness that returns pieces of light to her broken heart or as a message that says, “Hey, I am still sad.” I have realized that Mariah uses food as a vehicle to drive her grief away from her, as a method of escape from the world that she does not understand anymore, because the measurements of cooking are the stability that death has ripped away from her. She revels in the act of the process, but not the finished product, as if she can bake the complete happiness she once felt, back into her.

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The filling of self.

My friend Shannon is a different story and chooses to manifest her grief by serving herself with all the food she can get her hands on if she happens to find herself in the wrong mental state. She lost her sister last Christmas after years of not having seen her, enough to crush a person, let alone it was right before her 21st birthday. Her grief showed its head in a more self-destructive way, as she would detach completely from reality and reattach to the consumption of food. The taste, process, creation and origins didn’t matter to her, it was the physical act of eating she needed. I know what you’re thinking; coping mechanism again. However, this time the food was filling the void of loss instead of displacing it into something else. A coping mechanism, of course, but a much more dangerous one. One of self-harm and disorientation. She knows what she is doing and has actually sought help for it, successfully keeping her habit from getting out of control as it once was. For Shannon, her eating misconduct was simultaneously a fleeting feeling of comfort and a secondary problem that distanced her from her true issue. Her eating habit gave her not only satisfaction, but also more time to remain in denial about what had happened, as she had to solve the problem of “food” before she could solve the problem of “death.”


Food; emotion’s representative. What is it about food, something so trivial, that allows it to try and stand up against one of the most tragic events we can endure? It cannot hold us or love us or replace the love that we have lost; yet we put so much trust into it to help us recover. So much trust that we become dependent on it to fuel our emotional stability. Surely these girls are not the first to use cooking or eating to transport them to a place of calm security, in fact, most of society falls victim to emotional eating. We eat to celebrate, to comfort us, to entertain us, to support us, we use it in so many ways not essential to our being that it is evident that food is more of a hindrance to emotional well-being than a vehicle at all. What people are not realizing is that if food was cast aside as a primary coping mechanism, and direct emotional assumption was embraced, our healing would be so much more abundant, promising, and effective. Instead of healthily confronting what destroys us the most; death, we become attached to trivial means and convince ourselves that the apple crisp melting into our mouths is washing down the sorrow for good. Only to discover later, that we are only burying ourselves in the sorrow, deeper than before.

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For Nostalgic Purposes Only: Florence Through The Lens of Margaret Kots

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The blurry, soft texture of the collection evokes emotions of a hazy memory that is still there, but on the verge of being forgotten. Almost as if you are holding on to something that may never come to be. Viewers are meant to feel uneasy as they flip through the pages of an intimate glance regarding one the world’s most romantic cities. The far-away shots could be a place that you have been to and shared a kiss, a touch, or a longing for emotional connection. Locations are primarily meant to instigate thoughts about being fully present, because even the warmest of memories fade through the hands of time. 66 Spring 2019


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Balancing Act: Sisyphus & yo

ur

Doing Dishes Nietzsche referred to artists as “burnt children” & their commitment to art being representative of the degree to which life had been spoiled for them: “Now and then, in philosophers or artists, one finds a passionate and exaggerated worship of ‘pure forms’: no one should doubt that a person who so needs the surface must once have made an unfortunate grab underneath it. Perhaps these burnt children, the born artists who find their only joy in trying to falsify life’s images (as if taking protracted revenge against it-), perhaps they may even belong to a hierarchy: we could tell the degree to which they are sick of life by how much they wish to see its image adulterated, diluted, transcendentalized, apotheosized- we could count the homines religiosi among the artists, as their highest class.” Life, in many ways, has been spoiled by modernity to such a degree that we have yet to reconcile it, but we can feel something is amiss. Sometimes it feels as though we artists are still trying to become God, to create God, despite overwhelming evidence that it’s a futile pursuit. There’s some Sisyphean beauty in there somewhere, right? The boulder is a metaphor for life itself, but it might be a more optimistic take than one might glean at first glance. Pushing a boulder up a hill for eternity, doing your dishes when they’re in the sink, saying the hard thing, showing up for therapy: at all these points of tension, we create meaning, we deepen our story, we create the future for ourselves. We are on a chunk of rock, hurdling around a ball of fire, flying through an expanse of growing nothingness - for no conceivable reason - & yet it still matters to us that we haven’t 68 Spring 2019

Adornments, Words and Photography by Zachary Leachman

heard from that one friend in a long time. It still matters that we never learned to play piano. We evade planetary catastrophe on a daily basis, we will all die someday, & so will everyone we know, but we have a tiny pin-prick of influence in our own lives. Despite overwhelming evidence that none of this matters at all, it still matters to us. It might be the case that actually, everything matters - precisely because it is so futile. In my practice, making things can feel incredibly repetitive & tedious. I often ask myself “what’s the point, why don’t I get a real job, do something useful for a change?” Maybe someday. In the meantime, this practice has taught me a considerable amount of patience. the way I cast is finicky, tedious, & as much as I don’t like the implications of the word: primitive, for the time being. I was trained by no one, I answer to no one, I have to be the force that motivates myself to make the next thing. Sometimes I don’t want to. Sometimes I’d rather do nothing at all (& sometimes I do). However, though the process may feel a lot like pushing a boulder up a hill, I’m always glad after it’s done. It’s some form of cyclical affirmation, a rare opportunity to experience the abstract becoming the concrete, one of the only avenues in my life that produces a tangible result I can feel proud of. In that respect, I really enjoy making these things, even though there are points in the process that make me want to tear my hair out. Luckily for you, you can purchase my vain attempts to offload my existential pain & wear them. You can find Zachary’s work on symadornments.com and on instagram @sym_adornments


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beauty

Enrique Hernandez Crème de la Mer by La Mer ($85, Available at Nordstrom)

“I know this cream (crème?) is on the pricey side, but overachievers are often worth the investment. Infused with sea-sourced renewing energies--including seaweed extract-it is essential for the perfect skin on a night out. Although I probably would not recommend this product for everyday use (because of the steep price tag), I would definitely say this cult classic is a staple for men and women everywhere. It provides instant, intense hydration without oily residue and sheen.”

Jessica Badofsky

Kat Von D Everlasting Liquid Lipstick in Lolita ($13, Available at Sephora)

“Ever since I found this product, I’ve never looked back at any other brand. The Kat Von D Everlasting Liquid Lip stays true to its title—one quick swipe in the morning will keep you looking fresh all day without any need to reapply.”

Claire Martin

Clinique Redness Solutions Broad Spectrum Makeup ($24.65, Available at Macy’s)

“This foundation helps me control my redness and is the exact coverage I love-- not too matte and not too dewey. The formula allows my skin to breathe all day and allows me to maintain a natural ‘no makeup’ makeup look.”

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editors picks

Monica Wilner

Fenty Beauty Lip Paint in Stunna ($24, Available at Sephora)

“To everyone in my life that I told that they were my ‘best friend,’ I lied. It is actually this lip paint. She has always been there for me. She dresses up a drab look, provides the perfect final touch to an actual look and she even stays in place for an occasional mid-day nap. And guess what? She is loyal when crunching on chips and a tub of ice cream. Even if I’m not planning on wearing lipstick, she’s always in my bag, because you have to take your best friend everywhere.”

Isabella Monabianco Mario Badescu Facial Spray ($7, Available at Ulta)

“I have to admit, I’ve been having a serious affair with Mario Badescu Rosewater Facial Spray. I’m in love with all its natural ingredients. The spray has bladderwrack, a type of seaweed that is known for its anti-aging, dark spot reducing and detoxifying qualities. The hint of gardenia and aloe helps moisturize and soothe my skin and the rose extract naturally brightens and firms. This facial spray with aloe, herbs and rosewater is the Holy Grail Spray.”

Emmaline Fleener

Stila Glitter & Glow Liquid Eyeshadow ($24.00, Available at Sephora)

“I’ve been obsessed with Stila’s glitter and glow liquid eyeshadow in the shade wanderlust. it’s basically liquid glitter for your face (in a super cool orange/pink/gold shade), and can be worn alone as an eyeshadow or layered over other colours to add a little sparkle. if you really want to get crazy, you can dab it on your cheekbones for a glittery highlight as well.”

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Copyright Š 2018 by Impulse Magazine All rights reserved. This magazine or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the Editor-in-Cheif and Creative Director except for the use of brief quotations in a review. Champaign, IL www.impulse-magazine.com


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Impulse Magazine | Spring 2019 | Vol. 14  
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