Issue N.1 "Total Take Over"

LEWK ISSUE NO. 01

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LEWK Amaya Aztecatl, Gabriella Garcia Editors in Chief Sydney Bynes Managing Editor / Modeling Director Braden Barrett Editors Assistant Executive Editor Marina Garcia Executive Assistant Laurel Sanchez Fact Checker McKenna Bailey Creative Director Evelyn Deal Art Director Danielle Henson Videographer Jada Johnson Graphic Designer Lou Wharton Graphic Design Assistant Zoe Dunk Event Committee Manager Vianni Dudley Event Committee Assistant Max Aguilar Social Media Assistant Catalina Dumesnil Treasurer Kellyn Martinez Historian Sadie Potter Models Ahunna Onumadu Micheal Ybarra Alexis Williams Tara Davis Landon Jackson Photography Sophia Tello Preethi Managadu Sofia Harrison Makeup Artist Piper Ogletree Lexi Chavez Designer Alyssa Gonzalez Stylist Ashley Zuercher Staff Nayeli Flores-Patton Karla Benitez Erik Landin Jewel Ogungbambigbe Allison Mendoza Hannah Jones Madison Pulliam Xavier Carillo Sofia Garcia Tori Carrasco

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CONTENTS

1 Founders Notes 3 The Lewk Team 5 Who We Are 7 Black History Month 9 Virgil Abloh 11 Andre Leon Talley 13 Ann Lowe 15 Black Women's Influence in the Y2K trend 25 The Generation of Love 31 Sustainability 43 The San Marcos River

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Notes from the​

Founders

Who Runs the World: Girls The Founder of Lewk Magazine leaving their Mark Amaya Aztecatl, Gabriella Garcia and Sydney Bynes are the founders of Lewk magazine. These 3 inspirational women started the magazine all on their own.

This magazine has been in the works for almost a year before we present to you our first issue. But who are these amazing ladies that started it all?

Amaya Aztecatl is a junior at Texas State, who is majoring in fashion merchandising. When Amaya first came to Texas State she was a communications disorders major before changing it to fashion merchandising.

Amaya has always had a love for fashion and always knew fashion would be a part of her life and would always follow her no matter where she went. This magazine is important to Amaya because as someone who found their calling and passion in college she knew that Lewk magazine was an opportunity to give back to our community, and to grow the fashion world in Texas State and to make a change in not only our own life but the Texas State community.

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Gabriella Garcia transferred to Texas State in 2021 and is now leaving her mark here.

Gabby has always wanted to work for a magazine or be a creative director for a magazine or brand. This just goes to show that all dreams are possible. When Gabby realized that her dreams of having a magazine was near she contacted Amaya and they both got to work, working day and night to make their dreams a reality for not only themselves but for all creative bodies. Gabby also loved the idea that this would be a student run organization, founded by women. All the ladies feel extremely blessed and proud being able to start something so big that will last a lifetime here at Texas State. As well as provide opportunities for countless individuals.

Sydney Bynes is a sophomore with a major in public relations. Amaya and Gabby added Sydney to the founders team in the beginning months. Sydney is also the Vice president, managing editor and the model coordinator for Lewk magazine. As the vice president Sydney is the one to go before Amaya and Gabby. Sydney has an eye for finding the right people for the right job making her part of the founders team so critical. Lewk magazine has also given her the opportunity to grow her resume, network and portfolio.

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the team behind

LEWK 8 Photographer Evelyn Deal

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To make the dream work, the teams got to work Written By: Marina Garcia

After hearing that there was going to be a student lead magazine here at Texas State, many students jumped to the idea to apply, and with our success the founders found what they were looking for. Our team consists of individuals who are creative, energizing, and positive souls. Our team is made up of all ages, genders, and cultural backgrounds, here at lewk everyone is welcomed and all ideas are welcomed. What makes Lewk so special is that we are just like you. There is something and someone here at Lewk. This magazine is a perfect, fun opportunity to add to your resume and portfolio as well as a great organization to be a part of during your time at Texas State.

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Who

We Are Take a Lewk into who we are Written By: Marina Garcia

Lewk magazine is the first student-led magazine organization at Texas State. Lewk magazine provides opportunities to everyone. Whether you're a writer, design, modeling, or editing; Lewk magazine has it all. The founders of Lewk Magazine wanted Lewk to be an opportunity for everyone to feel comfortable and welcomed into this community, at Lewk Magazine we all lewk out for each other and accept everyone for who they are.Lewk magazine provided participants to build their portfolios, network

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and their resumes, information. Everyone is welcomed to Lewk Magazine no matter what grade level, as well as if you want to participate in Lewk Magazine but do not want a job on the editorial team, creative directors or a staff writer you can still participate and be a member! There are plenty of jobs to choose from at Lewk Magazine; totaling up to 26 jobs that are only an application away.

To apply for Lewk Magazine follow Lewk Magazine via Instagram and click our linktree in our bio for more!

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13 Photographer Evelyn Deal Model SydneyBynes

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HIST MON

Remem Virgil Abloh, An and An

Written by McKenna Ba

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TORY NT

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ailey and Laurel Sanchez

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Virgil Abloh Par Delphine Roche Photo by Jean-Batiste Mondino Réalisation Jean Michel Clerc Pour Numéro Magazine

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V ABLOH IRGIL

By Laurel Sanchez

“Untraditional” in the most inspired way, would define Virgil Abloh’s life, career, and personality. When he passed on November 28th, 2021, after battling an uncommon form of cancer, it was felt in every genre of music, style of fashion, and culture. He was a multidimensional figure influencing everything he touched with originality and transformed the look of high fashion in a way never seen before.

He was born September 30th in innercity Chicago, where his mother, a seamstress, would give him his first lesson in fashion and pour into him all the knowledge she had. By 2009 he and Kanye West would find themselves interning at Fendi in Rome, where he was first seen for his extraordinary vision and impactful personality. The CEO of Louis Vuitton was quoted saying, “I was really impressed with how [Abloh and West] brought a whole new vibe to the studio and were disruptive in the best way.

Virgil could create a metaphor and a new vocabulary to describe something as old-school as Fendi.”. This would not be the last case of Abloh turning something “old-school” and out of date into something that would rouse excitement, and he did just that when launching his first brand. In 2012 out of New York City, he came out with Pyrex Vision, in which he used Ralph Laurens’s leftover flannel fabrics to design his clothing line.

With the word Pyrex (which is said to be the preferred material for cooking crack) and the screen printed 23 to honor a childhood hero, Michael Jordan, his experiences inspired the whole brand. In his hometown, there is a saying that “only drug dealers and

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talented athletes made it out,” which became the exact framework for this line.

A mere three years following the launch of Pyrex Vision, he took the idea of streetwear with him but reimagined it completely and founded his brand on “the gray area between black and white” and launched the infamous Off-White brand.

Throughout his whole career, he was critiqued on his process and vision. He took on the extraordinary task of merging his culture and responsibility to the youth while also reaching a high-fashion audience in one synonymous brand.

To compete in a world as rigorous as the fashion industry, a designer must find that perfect niche of originality and luxury cohabitating together, which is precisely why he created his products in the same factories as luxury firms like Louis Vuitton. In every aspect of his life, whether within his brand or at the Vuitton studio, he highlighted diversity through his clothing, the chosen models (of all colors and genders), and the people he befriended.

His range was unparalleled throughout fashion and music as he oversaw the art direction for musicians such as Kanye West, Rihanna, Kid Cudi, Big Sean, and ASAP Rocky. He also served as creative director for live events, like Kanye West’s Yeezus Tour. His motivating force throughout his whole life was not for personal gain but to open the doors for those who had not been given a chance before. “There are people in this room that look like me,” he said in an interview with New York Times. “You never saw that before in fashion. The people have changed, and so fashion had to.” This was Virgil Abloh’s legacy.

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LEON TALLEY​

By McKenna Bailey

On Jan. 18, 2022, we recently lost a great fashion pioneer to a heart attack. André Leon Talley passed away at the age of 73, having lived a fashion filled and colorful life. He was an icon most known for being an African American editor in a dominantly elite white industry.

of working for Vogue, and he was a force to be reckoned with At vogue, he went up the chain of command through a variety of jobs. Talley was a fashion journalist, stylist, fashion news director, the first African American creative director, and it’s first African American editor-at-large.

Visually famous for his extravagant capes, he was known as the “pharaoh of fabulosity.” After being a judge on “America’s Next Top Model”, his six-foot, six-inch stature was known by those even outside the fashion and journalism industries.

Besides his many Vogue titles, he was an entertainer, a TV personality, an author, a Met Gala interviewer, a TV show judge, a creative genius, personally dressed Michele Obama; described as hilarious by all his friends, the subject of several documentaries, a social media sensation, the first to write about designers of color; the first to cast an African American (Naomi Campbell) in a reimagined “Gone With the Wind” Vanity Fair shoot starring black protagonists long before the fashion industry could see its own deep racism, and of course, openly gay.

Talley grew up poor in the Jim Crow southerneast coast, raised by his grandmother. As a child, he was obsessed with France, the Kennedy’s (although he no longer liked them after the former First Lady described his hero Ann Lowe as a “colored dressmaker.”), and Vogue magazines. H e would often get stones thrown at him when he tried to buy Vogue issues.

For having such a dark childhood, his adult life was filled with light. He got his big break when he met Diana Vreeland in a chance encounter who swooped him up and gave him volunteer work for the Metropolitan Museum of Art’s Costum e Institute.

Through Vreeland, he became a part of the magazine world and learned everything there was to know about style. After his eyes had been opened to the world of style and fashion, he proclaimed, “My eyes are starving for beauty.” Later he met Andy Warhol when he got a job at Interview in what’s now known as his Studio 54 era.

Several years later, Talley achieved his dream

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Being an openly gay African American icon in the world of fashion was tough for Talley. He had to often deal with homophobic and racist people and remarks such as “Queen Kong.” However, he used his fashion as armor against such hateful attacks from the public and from the people surrounding him in the same industry. In regards to racism, he often said, “you don’t get up and say, ‘look, I’m Black and I’m proud,’ you just do it and it impacts the culture.”

Talley was a man of grand pronouncements. In one of his later memoirs, he said, “To my 12-yearold self, raised in the segregated South, the idea of a Black man playing any kind of role in this world seemed an impossibility. To think of where I’ve come from, where we’ve come from, in my lifetime, and where we are today, is amazing. And, yet, of course, we still have so far to go.”

N.Y. Photo: André Leon Talley Instagram @andreltalley

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"Ann Lowe: Society's Best-Kept Secret". Saturday Evening Post, 1964. Source: Smithsonian

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A Imagine being the first African American to be a famous fashion designer. What could be better than that? How about a woman being the first famous African American designer! Ann Lowe was all that and more.

Lowe was born into a long line of seamstresses and dressmakers. Her ancestors were slaves and they passed down their sewing knowledge to Lowe and her family. Lowe is most famous for making Jaqueline Kennedy’s wedding dress and her unique one-of-a-kind gowns that usually had some sort of hand stitched floral motif made from fine fabric.

Before she was famous, Lowe faced many challenges such as being an African American woman in the 1950’s-1960’s when segregation laws were still in place. She also delt with two divorces, raising two kids, and often had thoughts of suicide.

It’s a miracle that Lowe was able to become famous at all. In 1962 she declared her dressmaking business bankrupt for not paying taxes due her being unable to make dresses because of the cataracts and glaucoma in her eyes. Somehow, her eyes surgery and IRS debts was paid for by a mysterious benefactor.

She didn’t get paid as much as white designers, but she also undercharged her customers because “sheer happiness sewing brought her was its own reward.” Her work was never credited to her until after Kennedy’s assassination when the First Lady

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LOWE

By McKenna Bailey

announced her dress was made by Anne Lowe.

She got her title of “Society’s Best kept Secret” because of this.

Lowe did not become so well noted because of sheer luck. She had a fierce determination “to prove that a Negro can become a major dress designer.”

Lowe said on an interview with Mike Douglas. Even when her eyesight failed her, she never gave up her passion.

Although her strong work ethic was seen in her elegant couture designs later in her life, Lowe finally got her big break when, by chance, she ran into a wealthy Tampa lady who loved the clothes she wore. Lowe was hired as a live-in dressmaker for several years.

Not much else is known about Ann other than her history living the seams in her dresses.

Most historians can’t even agree what year she was born, or how old she was when she died.

Regardless, Lowe’s impact on the fashion industry is undeniable. H er work was, and is still admired by and inspiring big names like Dior, Neiman Marcus, and Edith Head. Lowe’s designs were impeccable, without flaw, and that’s why she was so sought-after.

Lowe’s magical creations are still around for us today to see and be inspired by. You can view pictures of her dresses or see them in person in the Smithsonian archives.

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Photographer ; Preethi Mangadu & Amaya Aztecatl Hair: Amaya Aztecatl & Landon Jackson Makeup: Lexi Chavez & Landon Jackson Stylist: Ashley Zuercher Models:Alexis Williams, Tiana Kole, & Zoe

Black Women's Influence in the Y2K trend Written by Sydney Bynes Edited by Marina Garcia

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From Janet Jackson in the 80’s with her rope braids or Megan Good and Alicia Keys wearing their infamous Baby Phat velour tracksuits in the 90’s to Beyonce and Lil Kim sporting gradient pink Gucci sunglasses on red carpets, “the Black community is the original influencer yet remains underrepresented and often uncredited for their invaluable contributions to the fashion industry” (Edited Team 2020). With the revival of Y2K fashion this year, people tend to associate the low-rise jeans, big hoop earrings, and baby tees with style icons like Paris Hilton, Britney Spears, Christina Aguilera, and Kim Kardashian. However, the reality is, they took what black women started in the 2000s and usurped the credit Black men and women have influenced hairstyles and colors, dental grills, jeans footwear, makeup and more. The often-emulated Black community has had a huge impact on the Y2K and 90s fashion trends. Even today, the influence is strong and can be seen on high school and college campuses, and Millennial and Gen-Y hotspots.

Gucci, Louis Vuitton, and MCM Worldwide all have one thing in common; their iconic logos are recognized by virtually everyone around the world, whether they can afford them or not. Daniel Day, known as Dapper Dan, is a Harlem designer known as the "king of knock-offs'' (BOF 2017). He made a name for himself in the '80s and '90s as the tailor who gave rap culture its unmistakable style. He created the legendary trend of luxury monogramming on clothing.

During the 2000s you could see a young Beyonce and Rihanna sporting this look constantly. Lauded by the white-dominated high fashion industry. Once wealthy white women began appreciating the craftsmanship and overall look of certain products, the narrative shifted. What was once regarded as “ghetto” and “flashy” became “innovative” and “fun.” In reality, White designers took the credit and were put on pedestals for copying the work of Black designers.

White celebrities, who wore the designs, were celebrated for their fashion sense while their Black celebrity peers — Lil’ Kim, for instance — were being tarnished by the press for doing the same. Because it resulted in the erasure of Black artistry, the analysis of American celebrity culture is necessary for the comprehension of the resurgence of logomania during the 2000s.

Many Black women have a love-hate relationship with their hair. For many years, the struggle to avoid wearing wigs or weaves was a very real thing. “Black women's relationships with wigs began in ancient Egypt” (Dr. Afiya Mbilishaka) One admirable trendsetter for women’s hair is Naomi Sims, who is considered the first-ever Black supermodel. She created a multimillion-dollar custom wig collection that includes many different styles. Many Black women have grown up wearing

24 Shoot location Phire Girl Hair and Beauty

Photographer: Evelyn Deal Edited By: Gabriella Garcia

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their hair in what has become known as protective styles to manage the many varieties of curl patterns and minimize damage from heat and styling. To extend the life of these creative styles, bonnets, scarves, and braids are among the variety of different ways to protect the hair during the day and overnight. “There is a very personal journey with Black women and their hair” (Reed 2020).

All things considered, the manner in which a Black woman decides to wear her hair, or whether she wears a wig, a weave, or chemically relaxes her natural curls, is totally her decision. It’s something other non-ethnic women probably spend much less time thinking about. What's more, paying little heed to if the hair we wear develops from our own scalp or it was bought at a store, we are overdue for the freedom to do what we need with our hair, when we need, without the unnatural curiosity or judgment from others we've gotten so used to tolerating. And whenever I don’t feel confident, I remember all of the beautiful black women who started all of these trends in the first place.

The Black community has always had and will continue to have major influences in the fashion world. Many of the trends that we see today were started by Black influencers. Black music artists have significantly shaped and impacted a lot of the fashion that we saw in the Y2K era and even today.

Our society is either uninformed or plagued with amnesia as we don’t fairly acknowledge how much influence the Black community has had on fashion to the point of appropriation of African American culture and style; without the proper credit; yet Diane Von Furstenberg will always be credited with designing the wrap dress, Coco Chanel will always be known for her famous tweed jacket. If you search Y2K designs, one reliable and predictable photo at the top of the search results is that of Destiny's Child; they are the exemplification of Y2K excitement that we see reflected today.

African American Women embodied and molded style and design during the 1990’s through 2000 and beyond through the R&B and Hip Hop scene. A good example from the 1990’s, are the “Video Vixens” with ultra-fine eyebrows, low ascent pants, overwhelmed energy, belly rings, and all credited as Y2K. “Even oversized gold hoop earrings have their roots in Black cultureIn an article for The New York Times, gems fashioner Jameel Mohammed talked about the eradication of Black history from mainstream design things, saying, "Black style must be contextualized contrastingly to be viewed as extravagant." These ladies are dominated by average and ordinary white ladies when we think back for motivation, and they're likewise neglected when taking a gander at the current style scene.

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Lacking appreciation for the history of fashion trends, nonBlack influencers have been lauded for replicating these styles.

For example, Kim Kardashian's notorious box braids, which were lauded online were a copy of the aforementioned style Janet Jackson made famous; and yet people of color are at times criticized personally and/or ostracized professionally for wearing such styles. With respect to the current (seemingly to some) over-the-top stylish of charming embellishments, bejeweled dresses, and enormous fur garments, we can just look at the pioneer herself, Lil Kim. She never neglected to draw consideration with her brilliant hair, skin-exposing shimmering outfits, and adorned acrylic nails; yet she frequently goes unmentioned as influencers boost these equivalent styles.

We should all have the option to communicate our personal taste and personalities, and style unreservedly through our fashion decisions however we want, yet in doing so we have to address and be prepared for the prejudice that is interlaced with the style. Still today, individuals of color are described as “ghetto” and “shoddy” for their choice of hairstyle or the fashions they choose to wear; while their non-Black cohorts are complemented, imitated, and commended for being a 'Y2k icon’.

As a Back woman, I personally see the difference between appreciation and appropriation. As stated earlier, the Y2K style is an excellent example of originality that was already popular, yet completely taken away from the Black community and rebranded for the masses. With the resurgence in the popularity of Y2K fashion trends, I am hopeful that the original creators, influencers, and style icons are given credit as they are the ones who started it all. Eventually, we won't simply have to reconsider history. We need to revamp it.

The Black community has come into its own and will forever be influential in our fashion culture. Whether it's clothes, shoes, or hair everywhere you look there is some type of Black influence reflected in the popular trends we see today. And now with new emerging designers and influencers including Christopher John Robbins (who designs for Michelle Obama) and Rihanna, the Black community will continue to add flavor to the fashion industry. The affirmation of African American commitments stays similarly as principal as could be expected. It's crucial that we pursue portrayal as well as acknowledgment of African Americans' influence on style.

Also, we need to be aware of the suffering tradition of Black culture on trademark design developments however effectively like it. For style journalists and antiquarians, this implies rethinking the manners by which design history is conceptualized, observing who is referenced, and putting forth a functioning attempt to recognize Black erasure.

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The Generation of Love

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Photogragher Evelyn Deal Stylist Ashley Zuercher Hair & Makeup Amaya Aztecatl & Landon Jackson Models Sydney Bynes, Landon Jackson, Braden Barret, Jada Johnson, Ahunna O

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LGBTQiA+ Love and Acceptance on campus

Since 2000, Texas State has started programs and organizations that support and promote awareness to those in the LGBTQiA+ communities. Currently there are 4 student run organizations offered at Texas State: BobCat Pride, Lambda of Texas State, Transcend at TXST and QueerCats.

BobCat Pride BobCat PRIDE stands for People Respecting Individuality, Diversity and Equality. And Bobcat PRIDE the organization empowers those in the LGBTQiA+ communities at Texas State, doing so by mentorship, service and social change.

Lambda of Texas State Lambda is a non-Greek organization that provides services of social, political and education to LGBTQiA+ members. Lambda has service events to spread awareness to the Texas State communities.

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Transcend at Texas State Transcend is a group of all transgender, non-binary and genderdiverse students and allies at Texas State. Transcend also welcomes intersex individuals, drag performers and those who are exploring ways to express and identify themselves. This organization gives students an opportunity to share experiences and support to other transgender, nonbinary and gender diverse students at Texas State.

QueerCats QueerCats focus on uplifting and educating those who might not understand what it's like being a part of these communities. These Cats also promote self-awareness, professionalism, leadership and advocacy for students. QueerCats support those who are part of the LBGTQiA+ communities and those who are persons of color.

Texas State also offers virtual training courses to become Allies, by being an Ally one would be etail that after training a participant would receive a placard or pin that would symbolize themselves as an Ally at Texas State.

The pins are used for those in the LGBTQiA+ communities that are in a safe, understanding, supported and trusted environment.

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SUSTAI Photographer Preethi Mangadu Makeup Piper Ogletree Stylist Ashley Zuercher

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INABILITY 37

For many college students trying to find their path in life, answering questions such as “where will they be in the next 5 years” or simply deciding on their major of choice is a demanding task to ask. What seems to help those who are still in the process of “figuring it all out” many look to a role model or simply a person who has made it in a career they are interested in. For those interested in fashion at Texas State University, they don’t have to look very far, as one of our own professors Peggy Blum has seemed to navigate almost every aspect of the fashion industry from starting as a college student at FIT in New York, being a fashion editor at Seventeen Magazine, becoming an award-winning professor who taught in Israel, Milan, Paris, and London to most recently being the author of Circular Fashion: Making the Fashion Industry Sustainable. But how exactly did this all come about? What was that defining moment for her that brought her into the fashion scene?

“Someone actually called me out on the defining moment,” she says, that she started as a graphic design and photography student and that all the projects she would turn in were somehow centered around the idea of fashion to which

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which her professor responded, “you seem interested in the fashion industry, so why don’t you study fashion at FIT in New York”. “So that was that” she said, “I moved my single bed into Manhattan, lived in a tenement apartment and that became the defining moment, it just kind of

took off.” I asked if sustainability was always something that she knew she wanted to be a part of to which she responded, “Oh no, I feel like if anyone has gone to catholic school this is sort of your penance, I started out super, super trendy and was following fashion religiously”. It wasn’t until 2015/2016 that sustainability found her, as a consumer. She found herself in need of a new pair of sneakers and said she found an article about Nike and started questioning why it was that she was buying Nikes over and over. “I have a responsibility,” she says, “if I am going to purchase a garment, or anything, to do some research into the brand” and within that process she wasn’t convinced Nike was the purchase she wanted to make.

During her research into Nike, she stumbled upon the Copenhagen Fashion Summit (which is the largest sustainability fashion event) and immediately booked her ticket there. This is where she first learned about circularity and sustainability and the social and environmental impacts that the supply chain has on the environment. “And I started to say ‘hey’, She says, “the fashion industry is not at its best, we can make a lot of improvement, and where can

“I suddenly became this person that knew things”​

Barcelona Business Trip 2021

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“ There is hope in whatever situation you are in…”​

Trend Forecasting trip Tokyo Japan 1991

to understand the history, the foundation and the operations of the industry to be able to ask, ‘how can we make this better?” The process of writing a book can be painful, intricate, and time consuming but the light at the end of the tunnel is the knowledge you are gaining along the way and the people you are speaking with. She leaned through “vision, innovation and collaborations… Knowing she may not have all the answers, that she wasn’t the end all be all of the process and relying on the help of others to guide her through”. She says, “there is hope in whatever situation you are in and even finding the hope in the industry itself”.

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When asked what advice she has for those consumers, students, or anyone who wants to make a difference in the industry or simply contribute to the environment by starting with the clothes they put on their back.

It, once again, starts with the basics. Do you even know what sustainability is? It has become such a buzz word for the industry that it is often hard for a consumer to tell if a brand is truly sustainable or if they are hiding behind a greenwashing façade. She breaks it down for us by saying sustainability is both a verb and a noun. “As a verb” she says “it is the means of prolonging something, keeping up with it, or simply

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sustaining it. As a noun it is prolonging the needs that we have in the present and not putting the needs we have in the future at danger”. But this begs the question, how do we do that? “The solution is the idea of circularity, when used as a verb it means to circulate, to cause, to move. But when used as a noun it is the idea of constantly returning to the same point, so you are actually doing something… Which is why circular solutions is so huge.” It all boils down to the importance of being less wasteful, she says, “when you look at the bigger picture, the industry is trying to be less wasteful, by using the waste as value or eliminating it all together by changing habits”. The industry functions on a broken linear model (take, make, dispose) where waste is generated into two separate parts. On one end “the pre-consumer'' side, consists of the manufacturing and the creation of the product but also, “the post-consumer” end where it is now “our responsibility” she says, “after the product has gone through the supply chain, and we are sitting with them at home, we need to address our own personal habits. Am I greenwashing myself? We often hear ‘well if I only buy from sustainable brands, I’m being sustainable’ but how often are you buying sustainable brands? Or ‘well I thrift, well I donate my clothes’.

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But what I am starting to see is that you can talk about the industry as if it is removed from yourself, but how are you participating in it as a consumer?”

This idea of “greenwashing” does not only pertain to the industry but also how we, as consumers are greenwashing ourselves. “Look within, every contribution will help. Look at how you dispose of your products making sure they never end up in a landfill” We, once again, have a responsibility she says, “We are the ones who open the wallets, we can look at the tags to find where the clothing is being sourced from, we can know the fabrics and how they will recycle back into the environment… To take the next step and to truly know what we are buying… We, as consumers, have power too”.

Her advice pertaining to those interested in fashion or even studying it, is that “the core of the industry has not changed, it is all about image”. How the brands are promoting the products, the colors, styles, models, and how they physically look.

“The core hasn’t changed” she says, but the acceleration of the industry has. She looks back to her days as a trend forecaster, to when a company wanted to know what was in style in a particular place they would have to physically go there, look at what was selling and what wasn’t, what

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the people were wearing, what styles were trending. But with the prominence of the internet now, you can see what people all around the world are wearing at a single click of your finger. We are living in a generation where everyone is looking at everybody, and where celebrities and influencers are helping to dictate what is in style. “The image is a beautiful vessel” she says, “you can dress in all of the trends and wear all of the designer brands, you can look like you just stepped out of an Instagram post. But you must have something to fill that vessel, which is where that knowledge, that education comes in, both formal and informal.

Look outside the fashion industry, don’t become narrow minded. Look at art, and art movements, look at music, even those that are not quite your taste, look at film, architecture, and science. Fill up your vessels… the people who are using their knowledge are the ones that will move things forward. Don’t just rely on that image that is so prominent the industry.”

We are in an industry that we should be proud of, full of people who are taking risks to benefit the environment they are in. “Anything is possible” she says “it is that whole idea of hope, there are wonderful people doing amazing things… People are charged up to make this industry the best that it can be, there is hope, things are happening.”

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The Jewel of San Marcos​ Written by Laurel Sanchez

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Photographer Preethi Mangadu Makeup Piper Ogletree Stylist AshleyZuercher

town holds.

Any glimpse of warmth from the sun peeking through the clouds, even for a second, means that it is time to hit the river. Sewell Park, where locals, students, or any wanderer looking for an authentic San Marcos River experience would pack their things and head to an area dubbed as Bikini Hill, located right off University Drive. Anyone who passes this spot on the river is sure to look out and see a variety of activities commencing, from those who are there to destress from the week In a rapidly growing city, such as the one we find ourselves in, the San Marcos that many once called home have watched it slowly change before their eyes. Old roads, buildings, and businesses failing to meet the test of time will rapidly be replaced by newer, bigger, more modern establishments leaving the memories and stories attached to them to live purely in one’s thought.

With all the persistent changes pouring in, the San Marcos River seems to be the only sustained structure that encapsulates the years of history this

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with a book in hand to people who are there for sunshine and a good time. It has become a ritual for the locals of San Marcos to soak up as much time at the river as they can.

The possibilities are truly endless; some will do yoga or catch a tan on the banks of the river, while others find it more therapeutic to float or swim. For some, such as “Sun God,” the river has become their second home, a place of solace amidst the chaos. Sun God has become an unofficial mascot throughout his years of dancing along the river and holds this place in high esteem as it is an area of peace and self-reflection for him.

He has said that he views Sewell Park as a spiritual place. The San Marcos River also holds a sense of symbolism for those who attend Texas State University. As each student long anticipates the day, they will finally walk across the graduation stage, draped in gowns with swimsuits underneath so they can jump in the river to complete the final step of their

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college career. This is more than a river; students treat the river that runs through the campus as sacred ground, which has allowed this place to hold the culture and traditions of San Marcos in its very water since the Clovis (a prehistoric Paleoamerican culture) inhabited its banks over 10,000 years ago.

The San Marcos River, which the Edwards Aquifer feeds, has a reach far beyond the population of San Marcos. As over 2 million people in the surrounding areas rely on it for their drinking water. This river is also the unique home of species such as the Blind Salamander and the Texas Wild Rice, who, without this river, would go extinct. With all this river provides us, we are responsible for paying our respects back. By being more mindful of the footprint we leave on a place so dear to us, we can help ensure that this priceless jewel of San Marcos can continue to protect the years of history and culture for future generations.

LEWK IN THIS ISSUE

COVER

BEAUTY SUPPLY

Models Kennedy Thierry Alexis Williams Tia Nakole Jada Johnson Photography Preeth Managadu Amaya Aztecatl Makeup Artist Lexi Chavez Landon Jackson Hair Amaya Aztecatl Landon Jackson Models Kennedy Thierry Alexis Williams Tia Nakole Photography Eveyln Dealn Makeup Artist L Amaya Aztecatl Stylist Ashley Zuercher

COUPLES

Models Ahunna Onumadu Delandria Alexis Williams Tara Davis Landon Jackson Photography Evelyn Deal Makeup Artist Amaya Aztecatl Landon Jackson Hair Amaya Aztecatl Landon Jackson Stylist Ashley Zuercher

SUSTAINABILITY Models Sydney Bynes Bradon Barrett Alexis Williams Tara Davis Photography Preethi Managadu Makeup Artist Piper Ogletree Stylist Ashley Zuercher

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