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Spring 2018


be magazine


BE TEAM EDITOR-IN-CHIEF / PRESIDENT: Megan Martzolff DEPUTY EDITOR / VICE PRESIDENT: Camille Sommerfield HEAD OF FASHION / SECRETARY: Callie Fried HEAD OF HAIR & MAKEUP: Emily Heydt PRODUCTION MANAGER: Kristin McDermott HEAD OF MARKETING & ADVERTISING: Callie Fried TREASURER: Sarah Loughran HEAD PHOTOGRAPHER: Moriel Peng LAYOUT EDITOR: Jessica Gibson COPY EDITOR: Colleen Franke FEATURED PHOTOGRAPHERS: Megan Martzolff, Serena Tramm, Moriel Peng, Maya Ye FASHION: Callie Fried MARKETING & PR: Callie Fried, Sophie Jerome HAIR & MAKEUP: Isobel Lloyd, Emily Heydt, Eliza Kaufman EDITORIAL: Grant Newman, Callie Fried, Haley Mullen, Isobel Lloyd, Mamta Badlani, Michelle Choe, Olivia Pandolfo, Camille Sommerfield, Devon Daniusis ADVISOR: Professor Janice Mann Be is a student-run magazine at Bucknell University in Lewisburg, PA. Be circulates two editions per academic year: Winter and Spring. Involvement in Be is open to all undergraduate students and we are always looking for new members. Follow us on Facebook: Be Magazine, Instagram @be_magazine_, and Tumblr


Not Pictured: Sarah Loughran, Serena Tramm, Sophie Jerome, Haley Mullen, Isobel Lloyd, Mamta Badlani, Michelle Choe, Olivia Pandolfo


TABLE OF CONTENTS 08 Be Buzz| Camille Sommerfield 10 Removing the Faux Fur Stigma| Olivia Pandolfo 12 Gucci Slang| Grant Newman 14 New Age, New Nose? | Mamta Badlani 18 Winter Wear| Serena Tramm 24 The Evolution of Pop Up Shops | Isobel Lloyd 28 Fashion & Prosthetics | Devon Daniusis 30 Inked | Serena Tramm, Maya Ye 42 Blogs, Brands, & Bills| Callie Fried 46 The Rise of the Beauty Boy | Haley Mullen 50 Craftsmanship | Devon Daniusis 52 Don’t Stand Out, Stand Up| Isobel Lloyd 56 Tibetan Prayer Flags| Camille Sommerfield 58 All That Glitters| Megan Marzolff


DEAR READER, I am so excited to welcome you to my first issue of BE as Editor in Chief. As a photographer, I have enjoyed watching this issue challenge aesthetics in fashion and pop culture visually and contextually. With many new members on our executive team, there has been a surge of unique ideas and energy towards our content under the same goals. As always, we strive to create a platform that allows our members to openly address Avant Garde topics within our culture. This issue highlights many controversial topics within today’s society and looks at them in insightful ways. Our team has been overflowing with meaningful and creative ideas that we have cultivated in bold and highly contemplative manners throughout the semester. By analyzing the intersection of fashion and pop culture into our daily lives, this issue offers many revolutions against societal norms that many can relate to. From cosmetic surgery, tattoos, faux fur and prosthetics in fashion we invite you to examine the norms that affect your own life. We hope that this issue allows you to philosophically look at society through a creative lens and reflect. This issue aims to allow readers to connect current movements in culture to their own lives and cultures. I am beyond excited to feature the creative, intellectual and hard work that our team has curated over the past semester. It is my hope that you find this platform as a way to start a dialogue, reflect and connect within your own societies. Above all else, challenge norms, be different, be bold.

Megan Martzolff Editor In Chief 7


ACCESSORIES: Snash Jewelry Known for their edgy and unique custom rings, Snash Jewelry sells “urban accessories inspired by street style.” With infinite sayings and words to choose from, ranging from “Lady Boss” to “Chicken & Waffles,” every nameplate-style ring its own, individual message. Through their script font, chunky shape, and quirky messages, Snash Jewelry’s rings are accessories that, quite literally, make a statement. In order to make the rings, Snash Jewelry “carves every design out of wax and cast and produces them in our NYC studio” with their all-female team and local contractors. In an effort to create more sustainable jewelry, Snash Jewelry attempts to use recycled metals whenever possible.

CLOTHING BRAND: Carcel While the Danish fashion brand’s minimalist, soft sweaters elevate any outfit, what stands out about Carcel is their dedication to ethical fashion and, more specifically, their empowerment of women in prison. Made from extremely fine 100% baby alpaca wool, every Carcel sweater is created by 15 women at a female prison in Cusco, Peru. After a visit to a women’s prison in Kenya, CEO and founder Veronica d’Souza felt driven to teach women to work with high quality materials and give them the skills necessary to break the cycle of poverty that held them captive. In 2016, after more visits to various prisons, d’Souza decided upon a prison in Cusco, Peru. Carcel gives these incarcerated women fair wages so that they may support themselves and their families, and each article of clothing reminds the wearer of the company’s ethics as each style is named after the woman who made it. As a brand, Carcel proves that “ethical fashion can be sexy.”

MUSIC: King Krule Hailing from England, Archy Marshall combines punk, hip-hop, and jazz to create his own eclectic and distinct genre that connects past and present. Better known as King Krule, he debuted his first album 6 Feet Beneath the Moon in 2013, and his second album, The Ooz, this past October. According to Pitchfork, The Ooz resembles, “a heady blend of jazz flourishes and neo-soul beats; a diaristic blues opus struck, now and then, by psychedelic grunge thunderclaps; and a surrealistic account of Marshall’s struggles with depression and insomnia, interwoven with dreamlike nods to distant cities and foreign tongues.” Unparalleled by even other modern lo-fi artists, King Krule’s gravelly voice and dark lyrics paint a vivid picture of the world within Archy Marshall’s unconventional mind.

BOOK: Back Talk by Danielle Lazarin At a time where powerful activism, as seen in the #MeToo movement, begins to gain strength and speed, Back Talk by Danielle Lazarin gives power to the voice of women from all walks of life. According to Celeste Ng, New York Times bestselling author of Little Fires Everywhere, “Danielle Lazarin’s Back Talk is deceptively quiet but packs a powerful punch—much like the girls and women in its pages. The stories in this collection batter at the boundaries of female desire—not just for sex, but for intimacy, for visibility, for agency. They talk back to the idea that stories about women are ‘domestic,’ burrowing deep to find wildness and a smoldering fury beneath. The best collection I’ve read in years, from a phenomenal new talent.” While Lazarin’s stories put women at the focal point, her characters’ emotions, thoughts, and perspectives can be felt across genders and age.

COLLABORATION: Calvin Klein & Andy Warhol As part of Calvin Klein’s collaboration with The Andy Warhol Foundation, a partnership headed by Raf Simons, the classic cotton underwear will boast stills from Warhol’s film Kiss (1963). As one can imagine, these stills capture kisses within the movie, and seamlessly echoes Calvin Klein’s past promotional advertisements and messages. In an interview with WWD, Simons said, “I’ve come to realize that Warhol’s genius goes much deeper than cheerful Campbell’s Soup paintings… He captured all sides of the American experience, including sometimes its darker sides. Warhol’s art tells more truths about his country than you can find almost anywhere else.” 8


Camille Sommerfield

Removing the Faux Fur Stigma Where veganism and the anti-fur movement are today. 10

The fur vs. faux fur debate has been going on for years—a persistent mission to stop the mistreatment of animals but trying to maintain the glamour of the fur look. Veganism, animal rights, and laws about fur labelling have all contributed to the enforcement of faux fur into the fashion world. There is a clear antifur movement in regards to the treatment of animals, but wearing faux fur while supporting the vegan agenda is a different concern. Wearing faux fur reflects how far vegan materials have come—namely how faux fur can look expensive and how much of a difference vegans have made in this movement— but there is an ethical debate about vegans wearing faux fur that draws more attention to fur in general. All things considered, famous designers are making major changes. There are downsides to wearing faux fur as the quality is so advanced people often mistake it for real fur and then go out and buy their own real fur coat. However, the fur fashion trend is not going away in which case it must be considered that faux fur is the better option. As a result of fashion inflicted animal cruelty, coinciding with a persistent vegan debate, designers including Giorgio Armani are making lines using highend faux fur—being one of many to take huge steps to support the movement. Kym Cantor, founder of House of Fluff, spoke to Vogue about her pursuit of promoting the anti-fur movement. Cantor took a major leap by selling all 26 of her fur coats in order to fund her line. The collection is a “fashion-minded line of eco-friendly, low-waste faux fur coats and jackets.” Cantor, along with many other designers aimed to find faux fur that looked and felt like the 26 fur coats she gave up. This realistic, non-toxic faux material was best accomplished by Hannah Weiland. Weiland’s line Shrimps, aims for the best faux fur material on the market. Weiland also spoke to Vogue about her process of experimenting with faux fur. Upon stumbling across a “super-fluffy, silky-soft material” Weiland knew it was the best synthetic fur out there describing it as a “plush, real-feeling mod acrylic blend.” Weiland refuses to disclose how the fabric was made and where to find it in attempt to keep Shrimps the top faux fur line. Companies are trying to make faux fur look more and more real, but as a result, the two types of fur are becoming less distinguishable. This failure to distinguish between real and faux- fur may have actually become a legal issue among companies. This has to do with the mislabeling or failure to label fur as real or fake. Before animal cruelty became a widespread vocation in the US there was no

guilt factor to wearing authentic, high quality fur. In fact, there was a higher demand for this type of fashion. Because of this, non-luxury brands would often try to pass their clothing off as real fur instead of the nylon material they were using at the time. These materials had a particularly bad reputation in the 90’s. The stigma on faux fur extends to Russia where, given their extreme climate, real fur is almost necessary for warmth. In Marianna Tugareva’s article for Eluxe Magazine, she talks about the Russian prejudice against faux fur with their reference to it as “a colder and cheaper substitute for the real thing.” The Russian vegan brand Only Me trashes this perception by introducing an “insulated [faux fur collection] with a heat-retaining, breathable material called Thinsulate.” It is strides such as these that have led to the shift of how people view authentic fur. The desire for real fur has decreased so much that companies are actually trying to pass real fur off as fake. This is because cost is no longer an indicator of real or fake fur and accessing real fur has become increasingly easier. In fact, the Fur Labeling Act created a law that said fur doesn’t even have to be labeled if it is under $150—a pretty low price point for an authentic fur jacket.

“While there are positives and negatives to wearing faux fur, going fake is better than the animal cruelty real fur inflicts.”

This long-held perception about faux fur is becoming less prominent as more high-end faux fur lines are released. Designer Donna Salyers’ brand Fabulous Furs offers “vegan friendly brand with a wide range of unique pieces in highly artistic faux fur textile.” As well as Spanish designer Adolfo Dominguez who “redefined luxury fashion in Spain” where his involvement with the green movement promoted his use of fur-free fabrics for his luxury brands. The more high-end brands that begin to utilize high-quality faux fur, the more successful the vegan movement is becoming. Authentic fur used to be an indicator of wealth but now it is a simple implication of turning a blind eye to animal cruelty. Olivia Pandolfo Image courtesy of 11

Mara Vinnik 12







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An important aspect of hip hop is its strong connection to popular culture. In this genre of music, artists are consistent in their references to the nuances of modern day, whether that be through the utterances of current slang or the promotion of fashionable luxury goods. If a musician is out of touch with the latest developments in style, that artist risks becoming an afterthought in today’s market. As such, successful artists emphasize and reiterate what is relevant in society, stamping their seal of approval on a given trend. No label in recent years has proven more prevalent or desirable than Gucci. The brand is a powerhouse in the fashion industry, revered by artists and fashion experts alike. It is reasonable therefore to correlate the label’s status with the astronomical success of Lil Pump’s “Gucci Gang”. At the moment, the record is certified platinum, peaking at number three on the Billboard Hot 100. The song is well known for its repetitive chorus of ‘Gucci gang’, in addition to a music video that offers a showcase of both drug consumption and Gucci products on school property. This relationship between fashion and music is fascinating, calling into question which party relies on the other for attention. There have been multiple homages to clothing in the world of Hip Hop. The songs “Tom Ford” by Jay Z, “Versace” by Migos, and “RAF” by A$AP Mob are such works where musicians pay tribute to the makers of their favorite garments. Records like these raise awareness of fashion houses through the device of repetition, as all of the aforementioned tracks feature

the recurring chanting of the name of the label. Such impact on popular culture can be evidenced by Cardi B’s “Bodak Yellow”, in which references to “bloody shoes” caused searches for Louboutins to spike 217% since June. While high-end brands retain prominence in the fashion world long before they are hailed in music, it takes the devoted fandom of an artist to translate their appeal to the masses. Aside from their explicit mention in songs, fashion houses maintain relevance by outfitting celebrities. From Harry Styles to A$AP Rocky, Gucci has dressed a number of entertainers, demonstrating a diverse range of appeal to audiences. This connection between celebs and style is synergetic, as each boosts the other’s reputation. While some artists form collaborations and sponsorship deals with certain brands, such as with Lil Yachty and Nautica , there is no guarantee that the artist will initiate a concentrated effort to broadcast the name of their benefactor. Although possessing a tattoo of the brand’s interlocking G motif on his chest, there is no economic relationship between Lil Pump and Gucci. When asked about the song “Gucci Gang”, the house said it had no comment. The absence of an established partnership thus suggests that Lil Pump’s adoration of the label is sincere. “Gucci Gang”, in both song and video format, can therefore be seen as a reflection of Lil Pump’s style preferences, cultural awareness, and of course his overt desire to flex. Grant Newman

Image courtesy of & 19


New Age, New Nose? A More Plastic Surgery Friendly World



hat can $700,000 get you? 3 Bentley 2017 models, 560 Louis Vuitton monogrammed totes, or 196,078 McDonald’s Big Mac hamburgers. Over the course of 5 years, $700,000 got Rodrigo Alves 160 cosmetic procedures and his affectionate moniker the “Human Ken Doll.” His operations ranged from invasive procedures like eight-pack implants to non-invasive treatments like botox injections. Though extreme, Alves’ interest in plastic surgery is not an uncommon one. According to an annual review by the American Academy of Facial Plastic & Reconstructive Surgery (AAFPRS), demand in plastic surgery procedures has increased 25 percent on average since 2012. Only a few years ago, patients were ducking through alleyways, pairing disguises with fake names, and disappearing on “retreats” while awaiting recovery. With updated procedures offering patient flexibility and society’s habit of sharing through social media, exploring cosmetic enhancements has become less taboo. Established centuries before Heidi Montag’s infamous transformation, cosmetic enhancements have existed longer than little black dresses have been in fashion. The earliest recorded plastic surgeon was an Indian healer named Sushruta, who performed skin grafts in 600 BCE. Decades later, anthropologists uncovered an ancient Egyptian text that detailed nose repairs akin to modern rhinoplasties. Even the Romans underwent procedures like ear tucks, circumcision reversals, and everything in between. Whether for cosmetic enhancement or reconstructive purposes, the practice of plastic surgery has existed since the days of Cleopatra. However, patients’ motives have evolved to match changing society interests. With increasing workplace pressure, a survey by AAFPRS found that 57 percent of patients seek treatments from a desire to remain competitive and relevant at work. Consequently, surgeons have pioneered techniques offering swift recovery times. New minimally invasive techniques help patients look better naturally, an interesting contrast to the outlandishly large breasts or full lips the public is accustomed to seeing in the media. Some techniques are even temporary, like 21

non-surgical nose jobs, which rely on injectables to alter nasal structures in under fifteen minutes. Similarly, a dimpleplasty lasts only a year. Surgeons create small incisions inside patients’ mouths to develop defects in the cheek muscles that appear like dimples. “Baby botox,” a procedure using lower volume injections is also on the rise. However, these “natural” minor enhancements provide a gateway for larger alterations. Naturally, the media is preoccupied with celebrity procedures or makeovers gone awry. However, social media and the convenience of Instagram allow patients to feel more comfortable coming forward and sharing even unnoticeable alterations. Potentially caused by the rise of the Kardashian empire, even celebrities have become more open about procedures, illustrating a shift away from the negative stigmas often following cosmetic enhancements. Society’s discussions of plastic surgery have come a long way since the days of Jennifer Aniston’s pre-Friends nose job. Now, nose jobs at the age of 16 seem to be a rite of passage. Celebrities have always influenced beauty trends. For instance, patients often request procedures similar to treatments done by Kim Kardashian or Kylie Jenner, and Meghan Markle’s natural nose remains this season’s hot surgery trend. Selfie-culture and celebrity openness not only encourage surgery transparency, but also promote the desire for alterations purely to improve selfies. AAFPRS’s survey found that last year 55 percent of facial plastic surgeons had patients seek procedures to look better in selfies.

“Society’s discussions of

plastic surgery have come a long way since the days of Jennifer Aniston’s preFriends nose job.”

While achieving a strong selfie game may influence patients in America, people from all over the globe travel to South Korea under various motivations to undergo procedures. Profiting from medical tourism, the country promotes the popularity of getting a nip tuck on its official tourism board and has a cosmetic surgery center in a major airport. In Korea, physical appearances dictate citizens’ reputations, even in regards to employment, as many job applications require resumes with headshots. How can an employer determine a candidate’s qualifications from a photograph? Clinic questionnaires even list “preparing for a job” as an option for a patient’s reason for treatment. South Koreans fixate on outward appearances even from a young age. According to an article in The New Yorker, 50 percent of the women in Seoul who underwent procedures were in their 20s. Opportunities to strive for perfection are so pervasive in the nation that floor length mirrors occupy subway stations for riders to constantly primp, and graduates receive surgical cosmetic treatments as presents. Likewise, in Brazil—where butt lifts are routine, women accept great risks for beauty through surgery. Brazil hosts an annual pageant titled “Miss Bumbum,” aimed at finding the country’s best derriere (real or not). Andressa Urach, Miss Bumbum 2012 runner up, went to the hospital due to complications from her butt implants, putting her legs and life at risk. With butt lifts gaining cultural importance in Brazil, the country nominated ninety year old Ivo

Pitanguy—the nation’s pioneer of plastic surgery as an Olympic torch bearer, alongside the country’s gold medalists, celebrities, and public figures in the 2016 Summer Olympics. Is there a better way to show the industry’s impact on Brazilian history? With a country’s tourism board promoting cosmetic enhancements, and a nation proudly toting a plastic surgeon as a public figure, has cosmetic surgery become a new global beauty norm? As cosmetic procedures become more commonplace, those considering an operation need to remind themselves of the magnitude behind the decision. Due to new advancements appearing daily and patient transparency through social media, minor cosmetic surgery may become as routine as getting a spray tan. The newfound empowerment patients experience from broadcasting their results has lifted the taboo behind reconstructive surgery, and people no longer feel ashamed seeking treatments. As eloquently stated by Cher, “If I want to put tits on my back, it’s nobody’s business but my own.” After all, how much does plastic surgery really differ from procedures like laser hair removal, or balayage hair dye? Mamta Badlani


Image courtesy of Teen Vogue,, & The New Yorker 23

The Evolution of Pop Up Shops How large corporations and brands are taking over yet another current trend.


Like avocado toast and bottomless mimosa brunches, pop up stores seem to be the biggest rage in the millennial community. But what really is a pop up store and where did all the fuss come from? Pop up stores first went viral in the late 2000’s, and acted as a platform for new entrepreneurs to test out their product and brand name in a low commitment, low risk environment. These entrepreneurs can then review customer satisfaction and apply that feedback to future brand endeavors. Pop up stores initially started to appear in cheap and subtle areas of large cities such as New York, Los Angeles, London and Tokyo. However, today pop up stores emerge in more expensive areas as more influential people and companies have adapted their business strategies to comply with the trendy pop up culture. Most recently companies such as Louis Vuitton and Google have used the recent attention over pop ups to their advantage. However, for these larger companies, pop up stores are less about revenue and more about obtaining customer feedback and satisfaction to promote future products and sales. The traveling exhibit “Volez, Voguez, Voyagez” by Louis Vuitton, showed the brand’s loyalty to customer satisfaction over the years by presenting exclusive pieces in a classic and aesthetically pleasing way. Although the company did not sell any products and even offered free admission, opening the exhibit positively impacted the famous brand. Louis Vuitton created a display that provided their visitors the chance to experience an original opportunity. Thus, the Louis Vuitton exhibit bolstered into customer satisfaction, potentially translating to future sales. The exhibit also supplied free brand advertising with every picture visitors post to social media.

Similar to Louis Vuitton, Google recently opened a pop up shop in the Flatiron district of New York City. The opening arrived just in time for the holidays and offered an environment that combined both their new products with a one of a kind experience. While this pop up shop displayed the latest google products, it also included virtual reality exhibits, the set from Stranger Things, and a snow globe ball pit. By including these additional exhibits, the pop up store became less about the products and more about the experience. Similar to Louis Vuitton, Google used self advertising to promote admittance to their store. When people posted photos to social media in front of the iconic Stranger Things living room or in the snow globe ball pit, it attracted more potential customers who may have even been unaware that the pop up shop belonged to Google. Individuals who came for the exhibit experiences were then exposed to all of Google’s new products that may have influenced Googles’ sales over this past holiday season. In addition to these major retailers, celebrities are also jumping on the bandwagon and opening their own pop up stores to promote their latest albums, fashion lines or merchandise. Celebrities such as Kanye West, Kylie Jenner and Justin Bieber have all recently opened pop up stores that have generated huge crowds of supporters and mile long lines. Kylie Jenner’s praised lip kits are typically only sold online, so when Jenner announced the locations and dates of various pop up shops, her fans rushed to be a part of this experience. The purpose of Kylie’s pop up shop aligns with the original purpose of authentic pop ups, to gain customer feedback and earn profits. However, celebrities such as Kylie do not need to build up a following from pop up shops because they already

Image courtesy of 25

have one. Jenner does not need to pursue the low risk investment these temporary stores offer most young entrepreneurs, because she already has the revenue to support full time stores. In these situations, celebrities like Jenner with large followings are taking advantage of the trendiness of pop up shops to increase their profits and strengthen their brand image, and their fans are tripping over themselves to support them. The days of going to a concert and picking out your favorite artists’ concert merchandise is also becoming long gone as more artists take advantage of pop ups to increase revenues and to promote albums. Before the New York City concert of the Purpose Tour, Justin Bieber had fans lining up for hours in order to take a look in his pop up merchandise store. Beliebers frantically rushed from SoHo to Brooklyn to make it to both the pop up and the concert, simply to buy the clothing that would normally be available in the concert venue. Similarly, Kanye West opened up a pop up shop during his Life of Pablo tour. At the time fans raved over these exclusive purchases, but how exclusive were their buys when these two brands ended up in stores such as Urban Outfitters and Dash months later? Are these artists actually concerned with creating exclusive experiences for their fans, or are they exploiting fan loyalty in order to gain extra

profit and promotion before their brands head over to major wholesalers? As more and more companies and celebrities continue to use the trendiness of pop up shops to their advantage, will the overall popularity of the pop up concept decrease? The future for the pop up shop is still unknown in this respect. What started out as a way for consumers to buy unique products that were not being sold in major department stores and for entrepreneurs to test out their brands has turned into a way for a plethora of already influential brands to promote their products even more. If larger corporations continue to take over, local artists and entrepreneurs could potentially be driven out of the business. On one hand, consumers may lose interest in low-profile pop up shops since they aren’t as extravagant and showy as the experiences and shops celebrities and brands are able to produce with their large budgets. However, there is still hope for the pop up shop. Maybe consumers will continue to see the beauty and authenticity of low-profile pop up shops. The business of large corporations opening up traveling exhibits could simply be an additional type of shopping experience that consumers can also enjoy in harmony with shopping at their favorite local pop up shops. Isobel Lloyd


“What started out as a way for consumers to buy

unique products that were not being sold in major department stores and for entrepreneurs to test out their brands has turned into a way for a plethora of already influential brands to promote their products even more.�

Image courtesy of New York Times & 27

Fashion & Prosthetics A Marriage of Form and Function

“What happened to your ___?”: the innocuous, little question that plagues amputees and prosthetic wearers. This dreaded inquiry is often accompanied by the assumption that an amputee must have something “wrong” with them, and the association is often internalized by the individual themselves. But, there are many people working to rid the stigma tied to prosthetics and illuminate this requirement as a possibility for selfexpression and fashion statement. Someone’s prosthetic requirement does not dictate their aesthetic proclivities, nor does it dictate the stylistic standards imposed by society (i.e. women with heels, etc.) This is not to say that prosthetics are to be treated as ordinary accessories. They are still very much medical, but the potential to marry form and function is what makes this new industry

of fashion-oriented prosthetics so enticing. There is a market for these products as “Approximately 2 million people in the United States have experienced the loss of a limb, with approximately 185,000 amputation surgeries occurring every year.”


“Many are required to wear aids that help with hearing and seeing, yet these have been highly stylized, providing precedent for products that help with medical problems while also affording the user an opportunity for expression through differentiation.”

fashion is now being applied in the medical arena, these highly designed works are not accessible to all. In addition to the prosthesis revolution, there have been many strides within and beyond the fashion industry towards wearables for those with disabilities. Tommy Hilfiger, a brand traditionally designing for those without disabilities, has pivoted in their new launch of “adaptive clothing,” specifically designed for those with physical limitations. The Huffington Post describes the line saying “The clothes are designed to make them more easily wearable for people who use wheelchairs and/or people with prosthetics, movement limitations and other considerations. Magnetic closures, Velcro fastenings and wrist loops make clothes easier to pull on and wear, leg openings are large enough to accommodate braces and orthotics, and magnetic zippers can be fastened with one hand.” Working toward the same inclusive end is Open Style Lab, a nonprofit dedicated to design for those who are often forgotten in the formation of clothes or accessories: those with disabilities. The nonprofit works with Parsons and other design institutions to this end, hoping to get the most fashion-oriented, forward thinking individuals to consider limitations they might not otherwise in their making of clothing. The nonprofit also acknowledges that perhaps the reason many products do not exist is because of lack of knowledge and education, and through their programming they strive to impart on designers that this is a whole swath of people and consumers worthy of consideration. As the consumer possibilities expand in the market for prosthetics, a dichotomy forms between the allure and self-confidence one might feel if they have been fortunate enough to obtain a “fashion prosthetic,” and the heightened insecurity those who cannot access this innovation may feel. Those unable to afford prosthetics to begin with, or who have a more outdated, clunky model, might feel further isolated now, cast outside of a medical community to which they are a part. But, the disparity doesn’t extend to the possibility for dialogue promotion. With a heightened awareness in the fashion community and beyond, the basis of prosthesis stigmas can begin to be destabilized.

Private companies, usually established or motivated by someone impacted by a prosthesis, are making waves in the industry with unprecedented, undeniably artistic prosthetic designs. The Alternative Limb Project is one of the companies dedicated to using technological advances to make something highly individualized and something that will add to, not detract from, the wearers’ aesthetic. Sophie Oliveira Barata, founder, “sees the potential of prosthetics as an extension of the wearer’s personality.” The Project insists that, “Sophie’s creations explore themes of body image, modification, evolution and transhumanism, whilst promoting positive conversations around disability and celebrating body diversity.” Sophie’s products are clearly not aimed at disguising an absent limb, but rather at accentuating it in a way that promotes dialogue. Alleles Design Studio is another company re-envisioning the industry of prosthetics with its prosthetic covers. These covers, meant to be flexible pieces that can be easily slipped over an existing prosthesis, amplify any look through their laser cut, color intensive covers. As founder McCauley Wanner insists in an interview with True Activist, “I get to prove every day that fashion is life changing not frivolous.” These products actually do shape the ways people view themselves and interact with others who are often speculative of those without a limb. Although prosthetics’ revolutionary foray into fashion has given users a new way to view the obligatory prosthesis, this opportunity is not one afforded to all. A prosthesis is extremely expensive, ranging from $5,000-$50,000 for a limb that will likely only last 3-5 years. This short life-span is dependent on wear, care, and evolving bodily requirements. Although there are exceptions to this average duration, the looming costs of replacement, physical therapy training, etc. all contribute to a sector of the healthcare industry with extremely unrealistic costs for many. Insurance is definitely a resource for payment aid, but few plans fully cover the purchase, care, and replacement of a prosthesis. The products at the Alternative Limb Project are priced based on the design but are mostly in the thousands. Alleles’ covers, which do not replace the prosthesis but shroud it with color, pattern, and form instead, are hundreds of dollars. These fashionable options, as well as the traditional mold, are clearly not available for everyone, proving that although

Devon Daniusis Image courtesy of 29














Blogs, Brands, & Bills

From the Instagram feed to magazine stands near you.

Some people say diamonds are a girls best friend, others say a walk-in closet with an extensive shoe and handbag collection are a girls best friend, take your pick. The fashion industry has been booming and growing for centuries now, drawing in all different types of people from all over the world. One element of the fashion industry that helps capture the public eye is media and advertising. Not only do the companies and brands use these outlets, but individuals use the media to comment on trends and share their own stylistic preferences through blogging. As blogs become more popular, brands might reach out to sponsor posts and post ads on these blogs, sometimes affecting the quality of their opinions. Instagram has paved the way for bloggers known as ‘influencers,’ who are paid to post about certain brands and encourage people to buy their products. Many fashion bloggers also consider themselves influencers as they have a presence on Instagram and maintain their own blogs. Today, bloggers are modeling for high-fashion designers and even starting their own brands that they advertise themselves. Arielle Charnas, Instagram ‘superinfluencer’ and owner of the blog “SomethingNavy” launched her own brand by the same name exclusively for Nordstrom. SomethingNavy has been featured in multiple publications, including Glamour, Cosmopolitan, BRIDES, and The Coveteur. Charnas has also collaborated with many well-known brands such as TRESemmé, Rag & Bone, Neiman Marcus, Marc Jacobs, and Kate Spade. Her Instagram has over a million followers, and you can often find posts of her enviable wardrobe or her adorable daughter Ruby, who is also quite stylish. Charnas’ style choices tend to be a bit on the pricier side, so she decided to launch her own brand to channel her look in a more affordable way. She teamed up with Treasure&Bond, one of Nordstrom’s private brands, to create a of collection apparel, jewelry, and accessories. Since the the launch, Charnas has signed a long-term licensing agreement with Nordstrom where she has licensed her

SomethingNavy brand to the retailer. But Charkas is not straying from her roots. She still keeps up with blog posts and continues sharing her outfits on Instagram. She is very adamant on supporting other bloggers and ensuring that people know she is being sincere with each of her posts. “I don’t want to lose the trust of my followers. I don’t want my followers to spend money on things that are a waste or a sh-tty product/service. I care and like what I promote, even if some may choose to believe otherwise. As a team, we make the decisions of what we want to share/promote on my page, and you guys are always what we are thinking about when making those decisions,” she wrote on Instagram. The dedication to her followers and hard work toward building her brand is what sets her apart from other bloggers who might not have the purest of intentions with their posts. Another blogger who has made a name for herself in the fashion world is Amanda Steele. Steele began her career back in 2010 with a youtube channel under the username “MakeupByMandy24” where she posted fashion and beauty content. Steele was also approached by K-Mart to collaborate on a holiday promo. Since then, she has has deals with Bobbi Brown, Cover Girl, BH Cosmetics, L’Oréal, and Maybelline. Steele even collaborated with ColourPop on her own collection, Amanda Steele x ColourPop. In 2016 Steele signed a contract with WME and IMG models, taking over as the face of BooHoo and releasing her own collection of Quay sunglasses. She has also taken a dip into Hollywood, landing a leading role in Verizon Go90’s “Guidance” which now streams on Hulu. In an interview with W Magazine, Steele spoke to her transition from beauty blogger to beauty queen: “I was in the first wave of YouTubers to come up. Now we’re like, ‘Okay, what’s next?’ Who knows, maybe this generation of YouTubers will be the next A-list celebrities. It changes so fast that I can’t even tell what’s happening. I was literally just making videos in my bedroom.” 43

There are so many people who started out just like Charnas and Steele who have found success in the fashion world. Emily Schuman started her own fashion line after her successful blog, “Cupcakes and Cashmere.” Danielle Bernstein of “We Wore What” started her own line of overalls and jumpsuits known as Second Skin Overalls. Model and influencer Gabi Gregg, who runs the blog GabiFresh, successfully launched her clothing line, Premme, and recently released a collaboration with Swimsuits for All, supporting women of all sizes. Blogger Bethany Mota began her career on youtube under the username “Macbarbie07” and eventually launched her own line at Aéropostale. She has also partnered with J.C. Penney and Forever 21, later being featured in Teen Vogue. Mota has since released two singles and appeared on season 19 of Dancing with the Stars. These women are just a few of the many web-stars who have found success in the fashion world. Although there are thousands of bloggers out there who have yet to find success, there is no limit on succeeding in the future.

What each of these women has taught us is that starting as a blogger/influencer can help propel you into the fashion industry. Some might say its a starting point to fame. You don’t always need a degree in fashion to become a designer, and you don’t always need a modeling contract to be the face of a brand. These successes didn’t happen overnight, but over time spent putting videos together and writing blog posts eventually pays off. These bloggers are breaking barriers, showing that if you love something and you put work into showing that love, you can do anything. As Steele told W in response to her past and rising fame: “I’m not leaving things behind; I’m just evolving. I think that digital stars are going to go into more traditional roles. It makes sense for them to express themselves in the ways that they like and find their true passion.” If blogging and social media are stepping stones to the path toward our dreams, then this is the time and place to take a step in the right direction. Callie Fried


“ Who knows, maybe this generation of YouTubers will be the next A-list celebrities”

Image courtesy of Refinery29,, & 45


THE RISE OF THE BEAUTY BOY Popular beauty influencers such as Manny Gutierrez defy the gender binary through their talents and passion for the art of makeup.

“Hey guys! Welcome back to my channel!” exclaims the smiling face of Manny Gutierrez. Classically handsome, Gutierrez, known professionally as Manny MUA (the abbreviation for Make-up Artist), sports a manicured jawline with black stubble. His eyebrows are plucked to perfection and his teeth are blindingly white as he emits his signature giggle. He continues, in the same perky tone, “You all know the deal. If you don’t like me, if you don’t like this video, please don’t f***ing watch it!” A self-proclaimed “beauty influencer,” Gutierrez boasts over 4.5 million YouTube subscribers and 4.4 million Instagram followers. Gutierrez, a 26 year old California native, posted his first YouTube video in 2015. Since then he has forgone medical school to pursue a career in beauty. He is joined by James Charles, Jeffree Star, Bretman Rock, and many other so-called “Beauty Boys.” These individuals hold massive social media followings, earn

six-figure payments for makeup promotions, collaborate with and model for top makeup companies, and even develop and sell their own products. The success of the “Beauty Boys,” however, has come with disconcerting backlash. Death threats and homophobic or transphobic hate mail are common. Many of the Beauty Boys have posted videos discussing hateful comments and interactions. In a recent YouTube video, James Charles, the first male Covergirl, reads questions submitted by his fans for his parents. When asked about the frequent hate his son receives, Charles’ father dissolves into tears–thanking his son’s fans for “protecting him.” Yet, men wearing makeup is not wholly revolutionary. Male makeup practices can be traced back as far as 4000 BC. Egyptian Pharaohs wore elaborate cat-eyes with kohl liner and ochre red lip and cheek stains–all while being viewed as creating 47

a more masculine appearance. In the first century AD, Roman men were known to apply red pigment produced from pig fat and blood to their cheeks and nails. Throughout 17th and early 18th century France and England, men of high class painted and heavily powdered their faces, often pairing this with high heels. However, in mid-18th century England, Queen Victoria I along with the Church of England, deemed cosmetics “vulgar”, thus beginning its divergence to one side of the gender spectrum. Today, bands such as Green Day and 30 Seconds to Mars frequently donn “guy-liner” and nail-polish with little audible chastation. Rock and punk artists chiefly present these looks as part of stage makeup, it is an aspect of their performance or character. In contrast, the Beauty Boys demonstrate and wear makeup on the male body as a part of the everyday norm–blending gender lines along with their flawless eyeshadow. Their makeup looks traditionally “feminine” with most looks designed to bright and accentuate eyes, contouring cheek bones and noses,

and draw attention to the lips. Yet, these looks are not drag and most Beauty Boys identify as male. The profession and passion of Beauty Boys reach beyond makeup. When asked about about the societal views of men wearing makeup today, Gutierrez stated, “I feel like it’s changing, and social media has really helped people creatively express what they really feel and I [think] that’s the way it’s evolving. It’s amazing. I’m so excited.” The influence of the Beauty Boys is visible in their follower numbers and enthusiastic fans of all ages. Their looks and attitudes, propelled by millions, reach beyond the social media sphere and into the mass-production market through the likes of makeup giants such as CoverGirl, Tarte and Maybelline. These individuals are serving not only looks but also lessons of equality, progress and the future of the ever-melting gender binary. Haley Mullen

“Social media has really helped people creatively express what they really feel.”


Image courtesy of Twitter, & 49

Craftsmanship The Fez Leather maker


The pungent, fleeting smells that pierce one’s nostrils, the webbing of streets and alleys barely navigable even to locals, the distinct ringing of the call to prayer. The allure of the Moroccan souk cannot be overstated. These souks or medinas, crowded bazaars teeming with items for purchase, are outlets for sale of necessities and fine Moroccan works alike. These arenas showcase Moroccan craftsmanship and are carefully protected by UNESCO. There are countless sub-souks, where artisans specialize in ceramics, metal work, textiles, rug making, and, most notably, leather. Leather production is of the highest caliber in Morocco, ancient techniques working in harmony with few modern alterations, with Fez (or Fes) is the epicenter of artistry and technique. This ancient city preserves a distinguishable authenticity, decapitated sheep and squawking live chickens retained in spite of prudish tourists, and this authenticity is best exemplified in the years-honed processes used for leather making. The attention to detail employed by each tradesperson and commitment to retaining traditional techniques is how quality is ensured time and time again. The work is passed down generationally and even if children choose to pursue other avenues, they are conscious that opportunity stemmed from trade specialization. There is a governing proverb which says, “Craftsmanship, if it doesn’t make you rich, it will at least sustain you and will likely prolong your life.” Undeniably the goal is financial security, but not at the expense of practices that have been developed over large swaths of time. The process begins with leather acquisition and artisans treat pieces in the tannery with a mixture of pigeon poop, urine, lime and water which better prepares the hide for manipulation. Dozens of vats of this milky liquid

line the tannery grounds, releasing odors that pierce one’s eyes and elicit directionless tears. They knead the hides by feet for hours on end. Once this dayslong prepping is complete, natural dyes made from different pungent pigments are used to create vibrant coloration. Dyes made from saffron, indigo, cedar and mint inject leather pieces with deep, natural hues. Chouara Tannery is one of the most expansive and reputable tanneries in all of Fes, distinctive in its speedy customization commitments and high quality leather. Tradespeople drench themselves daily in large vats of dye, ensuring that each hide is fully dipped and curated to perfection. Patrons are provided with mint springs upon entering to combat the sharp odors permeating the air. At Chouara, one is able to select a garment, have it fitted to his or her body, and have it reconstructed and delivered in under two hours. This commitment to craftsmanship extends even after a garment is considered complete. Attention to customer satisfaction is one thing that makes Moroccan tanneries special, distinguishing them from far more removed, pretentious leather makers of Europe. This air of pretention is attributed to exorbitant prices, disconnection from the leather making processes, and use of far more modernized techniques. European, especially Italian leather, is still regarded as the most prestigious yet this speaks to an internalized Eurocentrism, not based on any true measures of quality. The type of cultural immersion and exposure to historic processes is not provided to travelers in Italy, who are often far removed from the garment construction process, spaces manicured and smells concealed. Instead, Morocco is fully transparent, proud of the mixture of smells, sounds, textures, and labor that goes into each leather good. Devon Daniusis

Image courtesy of 51

Don’t Stand Out, Stand Up

How fashion is used to perpetuate political movements.


The most cliché question to be asked on the red carpet is, “what are you wearing?” Reporters avidly hound celebrities with this question, but rarely delve further into the topic after a well-known, pretentious designers’ name has been mentioned. This year, at the 75th annual Golden Globes Awards, stars decided to change red carpet expectations by wearing black in solidarity in support of the Time’s Up movement. The goal of this political fashion statement was to shift the focus away from “what are you wearing?” to “why are you wearing that?’ The Time’s Up movement fights against sexual assault, harassment and inequality in the workplace, an issue that the stars at the Golden Globes felt needed more publicization. Since Hollywood star’s both have personal experiences with Time’s Up’s cause, in light of Harvey Weinstein sexual assault allegations, and have the platform to bring positive attention to the movement, the statements made at the Golden Globes were able to be extremely impactful. Wearing black not only brought vast amount of media attention to the Time’s Up organization, it unified men and women across the globe who have been affected by gender inequality in the workplace. This year, the public was less concerned with designer names and who looked best on the red carpet, but was infatuated by the stories behind the black dresses and suits and the courage that fashion allowed so many celebrities to instill in themselves and viewers across the country. While the Time’s Up protest at the Golden Globes has received the most recent craze, fashion has been used as a form of unification and identification for generations. This unification is seen in simple terms such as wearing matching t-shirts with your school on a class trip, wearing uniforms to sport games or supporting your favorite artist by wearing their latest designs. The way you choose to express yourself sends a message to the rest of the world about your values, interests and associations. Most of the time this form of unification is often overlooked as the norm, but when political movements use dress as a form of solidarity it calls attention to the issues and topics surrounding their protest. When these individuals and movements stray away from norms and make political statements through fashion, they attract the attention of the media which promotes both positive and negative attention to the overall cause. Although this type of protest has been prevalent in our society for generations, in the past year political fashion has

been deemed ‘trendy’ as more movements adopt this practice. This leads people to question whether or not the use of political fashion is sincere or is just another popular marketing strategy in today’s modern world. On the other hand, the use of political fashion might just be the necessary strategy to combat today’s political climate. Designers at New York Fashion Week made many political statements, both subtle and obvious, in support of various issues such as women rights, immigration policies, LGBTQ rights and many more. The Council of Fashion Designers of America officially partnered with Planned Parenthood for the event, explaining why many designers wore Planned Parenthood pins on the runway. Although the politics was initially embedded into the show simply because of its partnership, many individual designers took this opportunity to go above and beyond by flaunting garments with bold statements such as “Feminist AF” or “We Will Not Be Silenced.” In addition, while the looks typically seen on the runway usually emphasize design and creativity, this year designers kept things simple in order to keep the attention on the meaning of their designs. Thus, basic tees were the staple item of this years runway. In response to this years show Vogue interviewed designer Lobo in which he stated, “Right now, women and their bodies are under attack. I think it’s important, that no matter whether you’re a fashion designer or an activist, that you make a statement and speak whenever you have the opportunity—all of our choices this season were very deliberate.” Designers have very few opportunities to showcase their products and design, so the fact that numerous designers had foregone one of them for the sake of activism shows just how important a role fashion plays in politics.

“ It’s important, that no matter

whether you’re a fashion designer or an activist, that you make a statement and speak whenever you have the opportunity”


The 2016 Super Bowl was another place where fashion incorporated significant political meaning. Beyonce’s already fabulous performance also included a tribute to both the Black Panther organization and Malcolm X, as well as brought attention to more recent efforts towards racial equality set forth by the Black Lives Matter organization. The gold detailing and predominant ‘X’ on Beyonce’s chest represented Malcolm X and tributed his major role in the Civil Rights Movement, while all of Beyonce’s dancers wore hats similar to those worn by Black Panther activists. Although Beyonce’s subtle fashion choices were not evident to all viewers at home, her outfit choice gave her the platform to bring light to such a controversial political topic at America’s most televised event of the year. Her tribute both reminded viewers of racial hostility in the past and allowed viewers to compare old political protests with the new ones presented by the Black Lives Matter organization. Although the political fashion protests that have already taken place are extremely important, the

amount of impact they actually have in implementing change is questionable. Critics of political fashion have argued that this type of protest merely scratches the surface in changing the status quo and takes away from what actually needs to be done in order to spark new legislation. As this type of protest continues to become trendier and more prevalent, if another event similar to the Time’s Up protest at the Golden Globes took place, would it have the same effect in benefiting the movement? On the other hand supporters argue that political fashion is simply a parallel effort that works alongside other forms of activism in order to achieve a long term goal. Standing in solidarity with people who support similar movements also builds the larger support network required to make progress. Fashion has already allowed so many individuals to express their opinions and beliefs on certain issues, and will without a doubt be sticking around for future social protests. Isobel Lloyd

Image courtesy of Twitter, & 54



Up in the Air: Tibetan Prayer Flags Strung between appreciation and appropriation

Tibetan prayer flags adorn bedrooms, hang on college dorm walls, and appear on hundreds of Pinterest’s bohemian room inspiration boards. Despite their deep history and importance within Tibetan Buddhism, the original purpose and meaning of the prayer flags often remains ambiguous and unknown to most who hang them in their rooms. While many perceive prayer flags as a cool, new trend, Tibetan prayer flags represent much more than just their worldly, aesthetic appeal to interior décor. As the origins of Tibetan prayer flags become lost in translation, a debate arises as to whether non-Buddhists can hang them in respectful appreciation, or if doing so unavoidably bolsters a rise in cultural appropriation. Tibetan prayer flags first appeared over 2000 years ago by natives who hung them over mountain passes and rivers to honor the nature gods of Bon, their shamanistic religion, and to bless those who traveled through. When Buddhism rose within Tibet during the 7th Century, it incorporated many of the traditions of Bon, including its flags. The white, red, green, yellow, and blue colors came to represent the Earth’s natural elements, as well as the cardinal directions. Buddhist monks began to print mantras and symbols on the flags so that they could spread their blessings via the world’s wind currents. Today, in contrast to their popularity within bedroom walls, the origins of Tibetan prayer flags ask that they be strung up outdoors where the prayers can scatter into the breeze, and avoid a stagnant state. Moreover, Tibetan prayer flags should not touch the ground, and should be hung at a height in order to respect and preserve the prayers they hold. Purposefully left unhemmed, the flags’ colors are meant to fade and fray to symbolize their release of wishes and prayers into the world. Once faded, Tibetan buddhists typically

burn the flags to disperse the rest of its blessings, and allow for new prayer flags to bring in new hopes and revived benedictions. Today, many hang up Tibetan prayer flags without knowledge of their history, meaning, or proper handling. Because of this widespread unawareness, people who hang prayer flags often appropriate the religion and culture of Tibetan Buddhism. In an article by the Australian Broadcasting Company (ABC), Jarni Blarkally argues, “Central to the appropriation in the West is the way Buddhism is tokenized and not treated as a legitimate religion. Tibetan prayer flags are flown without any understanding or consideration of their religious meaning.” According to Blarkally, the rampant disassociation of Tibetan prayer flags from their true purpose, paired with a general unawareness of Buddhism, strips these religious totems of their profound significance and ultimately mutates them into trivial ornamentations beloved solely for aesthetic appeal. However, Blarkally believes there lies a “thin line” between appreciation and appropriation and that “buying Buddhist statues and art should be something done by those with a genuine interest in Buddhism or else it’s just collecting infantilised things from the “Orient.” Blarkally suggests that those who do not follow Buddhism appropriately appreciate Tibetan prayer flags with respect when equipped with the proper cultural knowledge. With an awareness of the their traditions and purpose, those external to Tibetan Buddhism can potentially gain the opportunity to spread benevolent blessings throughout the world by way of prayer flags.

Camille Sommerfield Image courtesy of 57







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BUCKNELL INTERCOLLEGIATE FILM FESTIVAL 3rd Annual Student-Run Film Festival Campus Theatre April 29th at 7:00 pm


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Special Thanks To: Bucknell University Bucknell Student Government Bucknell Print, Publishing, and Mail Our Models: Katie Gillan, Lexi Smilow, Tatum Contreras, Trent Starr, Alex Owen, Stefanie Salinger, Meghan Hill, Margaret Knoblock, Rachel Michael, Maya Ye, Moriel Peng, Julia Macedonio, Anya Lilaoonwala, Leah Kramer, Kayla Lucas, Mara Vinnik, Amanda Jo Lazowicki, Claire Moon, Coco Sachs, Joe Elvin, Jacob Maclecky, Lilly Dawson, Pilar Villanueva, Faith Been, Alyssa Peeples, Julienne Egofske


Bucknell Editorial Magazine Spring 2018  
Bucknell Editorial Magazine Spring 2018