Issue 07: Utopia

Editor-in-Chief

Tiffany Hue

Creative Director

Joy Chen

Arts & Culture Managing Editor

Juliette Cornet

Fashion Managing Editor

Rachel Feng

Politics & Activism Managing Editor

Erin Yeh

Associate Editor

Creative Operations Associate

Assistant Director of Design

Arts & Culture Staff Writer

Arts & Culture Staff Writer

Arts & Culture Staff Writer

Arts & Culture Staff Writer

Fashion Staff Writer

Politics & Activism Staff Writer

Politics & Activism Staff Writer

Photographer Photographer Photographer Photographer Photographer Illustrator

Illustrator Stylist

Social Media Coordinator

Megha Gupta

Marie Godderis

Allyza Quiambao

Jordan Mula

Neha Gupta

Anna-Marie Guenther

Mia Fong

Vanessa Nguyen

Natalie Semersky

Nanette Zhang

Max Gruber

Sophie Shaw

Maya Gee-Lim

Sey Yang

Suanna Zhong

Catherine Chu

Lily Glantz

Lynn Aiko

Anais Clancy

Max Gruber

Neha Gupta and Suanna Zhong

Nanette Zhang

Mia Fong and Sophie Shaw

Maya Gee-Lim

Anna-Marie Guenther + Lily Glantz

Megha Gupta

Natalie Semersky

Vanessa Nguyen + Catherine Chu

Tiffany Hue + Joy Chen

Tiffany Hue + Joy Chen

LETTER FROM THE CREATIVE DIRECTOR & CO-FOUNDER

To me, utopia is a concept of idealism for the future. While we may never reach a moment in our society where it feels as if utopia can be achieved, it is always nice to have a reminder of what we are fighting for and what our dreams look like. The current state of the world – economic, social, and political – feels more dystopian everyday.

The creation of META was because we saw a lack of ourselves in the communities that we were a part of. We wanted to take up space in this industry in a way that was self-affirming and loud that spoke to our capacity to be creative and to be given opportunities we would have never had the chance to have. My utopia has been largely found in META. Our team is the one that helps bring every issue to life and makes it possible for us to continue letting people know that we exist – not just as META, but for the unique individual identities that we hold.

This theme is not meant to be straightforward. It is coupled with the idea of dystopia in a way that juxtaposes the two to give a sense of our current realities. As you read through this issue, we hope that you are able to envision your own utopia, striving for an empowered version of yourself, while also learning more about the realities of the communities that we take space in.

With love,

Joy Chen Co-Founder + Creative Director

LETTER FROM THE EDITIOR IN CHIEF & CO-FOUNDER

As artists through word, design, camera, or pen, we are innovators. We are the engineers of our own realities, and with this liberty, we create our own utopias through art. We go about the world with a specific panache that can only be recognized by confidence and authenticity. We are visionaries shaping our own utopias, and we hope that you can be a part of that, too.

The idea of utopia is commonly perceived as the idea of perfection, a land free of flaws and shortcomings. It has been a topic for ages, inspiring runway shows, feature films, mixed media, and endless other content. As we continue to mature in our realities of the world, however, we begin to realize that the sublime is far from fruition. In fact, perfection is a facade. The beauty of human nature is our malleability in perspective, free reason, and thought.

Utopia is not simply the destination of perfection, but the journey toward it. To revere utopian ideals means to value improvement, to find the potential in thought, and to follow optimism under the grounds for hope. To seek a utopia means to live a life full of promise, and through META, we have been searching for just that.

Our seventh editorial issue, UTOPIA, features lifestyle creator Ashley Alexander, whose authentic content shared under the pseudonym ‘Ur Mom Ashley’ has brought together global audiences. There is a lot to be learned from content creators like Ashley, because she shatters the usual expectation of what a utopia should be––instead, she creates a realistic idea of a community, one cluttered with fun but also with flaws, one filled with incredible opportunities but also with humanistic experiences.

Emerging from the intensity of the initial Covid-19 pandemic introduced the silver lining of META’s origin. This creative utopia taught us to be sanguine during eras of deep sorrow. It isn’t just about finding some Shangri-La, it’s about being authentic in our present realities to create utopias we’re proud of, because when we’re genuinely ourselves, that’s the real paradise. When you strip away the consummate displays of fashion runways, break away from the comfort of your own beliefs, and find the courage to move forward in change, you find that what you thought to be home might have never been that great at all.

That is the importance of community and sharing our voices. We gain new perspectives through new media, and that consumption informs the way we craft utopias on our own. For almost three years now, Joy and I have been working tirelessly to create an editorial that abides by our shared idea of utopian thought, by creating a space for others to share theirs. Creativity is where our minds go to grow, to cry, to scream, to think. Creativity gives us a purpose, and we cannot thank our audiences enough for the undying support we have felt throughout the past couple of years. Because of you, we get to create an editorial that shelters a utopia that is just within reach of your fingertips.

You are what makes META meaningful. We create not to impress, but to exercise a bone of purpose. Now, sit back and enjoy the stunning utopias explored by our wonderful team through art. We hope you enjoy our seventh editorial issue of META, and we’ll see you in our utopia.

With love,

Tiffany Hue Co-Founder + Editor-in-Chief

Bargaining For A Better Heaven

BY MAX GRUBER

I feel a new chapter beginning...

I’ve been experiencing a lot of change in my life. My family and I are going through the process of selling my Grandma’s house, and this was my last chance to say goodbye and shoot with my cousin in these rooms filled with so much nostalgia. This home was a safe space for me to grow, and as it’s being taken away, I feel a new chapter beginning. This series is an opportunity for me to reflect on moments of experiencing those awkward growing pains. Looking back at the times where I was left to be lost in my own head. Thinking about feeling like a mutant in spaces that others seem to thrive in; searching and longing for a perfect place for me.

When Daniela Federici took black and white photos of Anna Nicole Smith lying in a plush bed, laden in diamonds for a Guess Jeans ad campaign in 1993, she must have known the sensation she was bound to create. Smith was the epitome of glamor, the girl everyone wanted to dare to be. Guess sold her as the embodiment of perfection, and along with that sold the luxurious world in her photos as a utopia that customers could possibly reach out and grab if they bought a new pair of jeans.

Not all ‘90s ads were the same, however. Some brands opted for messaging that went beyond the superficial, as they realized that triggering a deeper emotional response from their audience might bring in more sales. Donna Karan’s “In Women We Trust” ad campaign of the 1990s is just the tip of the iceberg. In this photo series, model Rosemary McGrotha poses as the President of the United States, clearly outshining all the ordinary men around her in her sleek, pinstriped blazer and chunky pearls– an outfit that smacks of authority and influence. The paradise that Donna Karan proposed is a world run by women, not just mesmerized by them. This idea of a perfect world is emotionally moving, possibly moving enough to nudge potential buyers into opening their wallets and promoting the dream that the brand’s campaign sells.

However, as time goes on, the market changes. The unsustainable consumerism fostered by constant ad campaigns has found criticism in today’s increasingly eco-conscious cultural climate. Most recently, labels have attempted to highlight the ways in which they’re moving away from the many unsustainable practices in the fashion industry that the climate crisis has brought to light. Sadly, when it comes to large designers, a lot of these efforts fall into the category of greenwashing– a marketing technique used by advertisers to deceive consumers into thinking that a company’s mission, products, and practices are environmentally sustainable.

PHOTOGRAPHY BY SUANNA ZHONG

WRITTEN BY NEHA GUPTA MODELED BY LUCY HWANG

“UTOPIAFORSALE”

One particular designer that can be added to the lineup of greenwashing brands is Stella McCartney. The label’s Summer 2022 campaign photo series was shot in the whimsical Marqueyssac gardens in France, setting the backdrop for the eco-centric theme of the collection, which features apparel inspired by and made with mushrooms. Stella used mushrooms as her muse because of their infinite versatility in efforts to develop new medicines, breakdown waste, and create vegan leather called Mylo™, a material used in a scant sprinkling of handbags from her Summer 2022 collection. This feeds consumers the idea that they’re not only investing in a purse, they’re investing in a sustainable future– right? Campaigns like this, though innovative, tend to create illusions of utopia to distract from the fact that more drastic action is needed to actually tackle the climate crisis. Climate change can hardly be corrected by a few mushroom-leather handbags in the midst of a consumerist, unsustainable fashion industry and society. The utopia that Stella McCartney so boldly advertises can’t be bought; in fact, continuous focus on manufacturing and buying new products, ironically, is what takes us further away from it.

Ad campaigns in fashion, having evolved to fit contemporary cultural demands, have also taken full advantage of advancements in technology and media to sell their fantasies. This plays out extensively on social media platforms such as TikTok and Youtube, where a large range fashion brands have begun to sell products not through their own advertising, but through the references and praises of influencers and creators. It is a genius tactic– rely on a stylish customer and influencer to make a video about how well the jeans fit, and let that video reach thousands of potential and past buyers, some of whom will agree in the comments about just how perfect the jeans are. The true appeal of this advertising is that it doesn’t come from the company itself– it comes from seemingly real, everyday people, and therefore

exudes a sense of authenticity. Even on posts sponsored by brands, sifting through the comments will reveal brutal honesty about personal experiences with the product being displayed. It is now much harder for companies to create warped, idealized ad campaigns and hope that consumers take the bait– through new modes of presenting and reviewing products, consumers have an opportunity to hold brands accountable to the utopias they sell. However, social media is no stranger to faux credibility. It has redefined the way consumers interact with brands, proposing a very utopian, seemingly down to earth manner of consumerism. In truth, this type of consumerism rests on constant purchases to keep up with trend cycles created by social media influencers themselves, perpetuating a grim reality in which the idea of “enough” is nonexistent. The chronic need to keep buying something new because everyone and their mother is wearing it creates a stark contrast between the fantasy of an influencer’s lifestyle, sold by social media, and the reality of consumers chasing that fantasy in vain.

Advertising is an art, and a sneaky one at that. Its evolution is a reflection of the desires of a changing society– something to keep in mind the next time you’re tempted to buy a purse.

“UTOPIAFORSALE”

the (dis)appearance

(dis)appearance of chaos

WRITTEN BY NANETTE ZHANG

W

ith an increasing onslaught upon colors and chaos, the world today desperately seeks to perfect everything into a utopia of soothing neutrals and standardization. For many, having this sense of control and likeness provides a deep sense of utopia without a single piece out of place. However, this “utopia” emphasizes a more eerie interpretation when analyzing it from a perspective of commoditization where utopia turns into something that should be achieved within daily lives rather than an imaginary concept. Moreover, it pushes towards a reduction of culture and identity as such elements are undermined to streamline a consistent “look” and “construct” within a minimalist and capitalist place.

Rather than the disappearance of chaos, it is the appearance and existence of chaos—evading such a standardization—that creates a true utopia.

Most notably, the fashion industry is slowly proving the formation of a stronger utopia by eliminating the need for standardization and commoditization of a certain look, color or body type. Increasingly, designers are putting models of different colors, body sizes and style on display rather than industry standards of the tall, white and thin aesthetic. This very construction of a transformed aesthetic demonstrates the emergence of utopia in the fashion world, driving initiatives for stronger diversity, equity and inclusion in a traditionally constricting industry. Such changes challenge society to not settle for this so-called idea of uniform “perfection” which only proves itself as a catalyst created by capitalism and economic pressure. In driving such diversity and expression, it calls into attention crucial points of uncomfortable discussions that are otherwise ignored. This is most apparent when examining the blend between high fashion and streetwear within the industry.

Over time, there has been a drastic increase of partnerships between streetwear and luxury brands such as Louis Vuitton x Supreme in 2017 and Ralph Lauren x Palace in 2018. Most notably, Virgil Abloh, former artistic director of Louis Vuitton’s menswear and founder of streetwear brand Off-White, pioneered an integration of different cultural and social elements of fashion that indubitably defied historic standards of high fashion. As the first Black artistic director of Louis Vuitton, Abloh’s unification of the two transcended typical identity tokens in establishing cultural capital that paralleled appreciation of art, music, politics and philosophy. Traditionally, streetwear was concocted by individuals and communities through creative and experimental combinations of colors, patterns and textures, dramatically contrasting the orderliness of luxury fashion.

the (dis)appearance

At the intersection of streetwear’s eclecticism and luxury’s homogenization lies a utopia that revolutionizes the fashion industry in bringing together disparate cultural, social and economic design elements and values.

Between these crossroads, creative and imaginative designs of brands are featured while the economic value of such collaborations calls attention to issues that pervade through communities where streetwear originated—ones that luxury fashion would have otherwise never understood.

On January 9th, 2022, a fire broke out in a Central Bronx high-rise residential building despite numerous complaints being filed prior to the incident. Soon after, founder of Awake NY and New York native, Angelo Baque, mobilized a support campaign within his network to offer aid to the victims of the tragedy while promulgating nonprofit organizations such as the Bronx-based Until Freedom Network. Originally, Baque served as the creative director for Supreme which introduced him to a large network within both the streetwear and luxury industry. However, it is because of his personal background and experience in growing up in Queens that allowed him to understand the struggles of these communities and lent him inspiration and passion for streetwear.

Typically, streetwear has been viewed as too “loud” or “chaotic” with its colorful designs and patterns by designers in luxury fashion but this very disruption pivots a crucial shift in sentiments of cultural, social and economic understanding that truly renovates the industry and society as a whole. With the increased prominence of streetwear in luxury fashion, norms of fashion are transformed to unite distinct and diverse designs, people and values such as the creation of streetwear tops in mobilizing support for the Bronx fires.

Navigating through the cracks and splinters of porcelain facades in the fashion industry and society as a whole, this chaos and upheaval brings forth a new era of utopia that may have been too intimidating to confront in the past.

Seemingly, more imperfections are illuminated within the industry—but without such revelations, fashion would simply be trapped in a state of ignorance that fails to evolve with its cyclical nature of trends and styles.

(dis)appearance of chaos

WRITTEN

BY MIA FONG

HEAVEN IS A PLACE ON EARTH: THE RISE OF THE HIGH

FASHION FABRIC TOY

HEAVEN

IS A PLACE ON EARTH: THE RISE OF THE HIGH FASHIONFABRIC TOY

The past two years have been shaped by the devastating losses of the COVID-19 pandemic among them being the sense of fulfillment that comes with the typical milestones and timelines of life. Like most of the world, the fashion industry has also evolved to respond to match these dramatic shifts, seeking to sate young people’s cravings for a safe haven, for their own utopia in an increasingly warped and disenchanting world. In order to do so, fashion houses have enlisted the help of tried-and-true classics: stuffed animals and other eclectic collectibles reminiscent of the simpler days of childhood. By adding their own avant-garde twist, fashion houses are carving out space for a new high-fashion staple as we move further into the 2020s.

Though traditionally reserved only for young children’s play, plush collectibles and toys are enjoying heightened levels of popularity among young adult owners, an increasingly visible consumer base in the fabric toy market. Studies conducted by Research and Markets and Precision Reports revealed that the pandemic has yielded “significant growth” in profits for the fabric toys industry. On a more immediate level than market statistics, the rise in popularity of stuffed animals among young adult consumers is evident on social media. In particular, Kellytoy’s Squishmallow brand has had a notable rise in their sales since February 2020, partially due to its boom in popularity on TikTok, where enthusiasts are able to show off their Squishmallowfilled bedrooms, many of them resembling maximalist, multicolored ocean of the plushes.

While it would be inaccurate to claim that this subculture of collecting stuffed toys is new among young adults, the acceleration of its spread in the past two years is undeniable. A likely drive for this fixation is a search for renewed security and safety. For many, filling their private space with collectible comfort items serves as a source of contentment. Both feelings are greatly sought-after by young people, who are feeling alienated from the outside world even after the isolation of quarantine and the rocky readjustment back into a shadow of ‘normalcy’. Additionally, the pandemic and its ensuing disruptions stripped a sense of control and certainty over the world’s state from many young people, who were able to reclaim a semblance of it by curating their own ‘utopia’ in their bedrooms through the possession of these collectibles to decorate their safe spaces. As the social media posts showcasing bedrooms adorned with stuffed animal collections continue to circulate, as the resale market for rare plush toys continues to become more lucrative, it seems that the trend is here to stay as we continue to emerge from our rooms and integrate back into society.

dreamscape for its Gen Z consumer base. Its showroom’s plush carpeting and eclectic collection of dolls and vintage magazines serve as a celebration of youth culture, all shelved within their signature double-headed teddy-bear-shaped alcoves. It is this teddy bear, which serves as Heaven’s logo, that above all defines Heaven as the high-fashion zeitgeist of pandemic youth culture, a nod to the stuffed animal craze.

With its inaugural launch, the label unveiled its first Heaven bear, a classic stuffed bear in collaboration with Steiff, the oldest teddy bear producer in the world, albeit with its signature macabre twist - the double heads. This avant-garde twist on a childhood classic solidifies Marc Jacobs’ appeal to young people’s tastes in the world of high fashion. Two years later, the Heaven bear received its second iteration - a collaboration with artist Dean Hoy, who specializes in upcycling plush toys. The centrality of the teddy bear iconography fully cements Heaven’s immersion in the stuffed animal wave, granting the label extreme popularity among young consumers for its ability to offer a trendy yet high-fashion slice of utopia - or “heaven”.

Though hauntology and the pervasive influence of nostalgia in fashion and culture are not limited to this commodification of comfort, the past two years have accentuated the desire for collectible items and figures reminiscent of childhood wonder. In a similar move to the integration of stuffed animals, the number of collaborations between fashion houses and toy companies has accelerated. This has yielded the creation of collections such as Gucci’s 2021 limited edition Hot Wheels and Balmain’s 2022 release with Barbie. These labels’ decisions to turn towards candy-colored palettes and stuffing encased in plush fabrics stand in distinct contrast to the high fashion industry’s typical stark lines and intimidating air. It is this commitment to embracing the toy trend that ultimately serves as a testament to the current extent of people’s obsession with reclaiming comfort.

As we venture further into the still-young decade, the world continues to shed its concerns over the pandemic - including the anxieties and disillusionment that nourish the high-fashion stuffed animal craze. However, though inextricable from the unprecedented conditions surrounding their rise, it is possible that the expanding popularity of comfort items in the mainstream eye is more than just a passing trend. Perhaps there is a deep-seated yearning for the world around us to resemble the utopia it seemed to be to us when we were children that extends beyond the shock of the pandemic era. Though the future of the comfort item and the next fixation of the high fashion world is ultimately uncertain, for the time being, it seems that collectibles are here to stay.

THE RISE OF THE HIGH FASHIONFABRIC TOY

DIGITAL FASHION

BY MAYA GEE-LIM

JIN IN PARIS.

BY SEY YANG

In 2019, Costco opened its first branch in mainland China in Shanghai. “Jin in Paris,” shot at the Marina del Rey Costco location in Los Angeles, references the Chinese influencers that subsequently flocked to the Shanghai Costco location in order to pose for social media photos, pretending to be in Los Angeles.

As a Chinese-American artist photographing a native Chinese friend, I am interested in the relationship between Asian-American media and Orientalism as a product of globalization and consumerism. Costco is one of the many examples of corporatism permeating across transnational borders, and this phenomenon of Chinese influencers is a reflection of how the spread of Western hegemonic culture is constantly ongoing.

The Branding of the Self

WRITTEN BY JORDAN MULA

The most notorious streetwear brand, Supreme, was born on Lafayette Street in SoHo, the pulsating heart of New York City’s fashion hub. While founding designer, James Jebbia, opened the original store with an underground ethos, the brand has since grown to a mainstream status in fashion mecca’s across the globe.

Supreme is often recognized by its signature red box encasing white italic letters– a near carbon copy of Barbara Kruger’s typeface known as Futura.

In 1990, she made her most well-known work featuring a photograph of a model’s hand holding a red box that reads, “I Shop Therefore I Am.” It’s these words that echo the chokehold that branded streetwear now has on the wallets of the younger generations who are spending an average of 60% above retail price on resale sites like StockX.

Yet streetwear has since evolved from its humble birth to encompass two main elements: t-shirts and exclusivity. In 2013, Supreme sued the clothing brand Married to the Mob for infringing on its red-and-white Futura logo. This is the logo deeply embedded in Kruger’s own stylistic vernacular. When asked to comment on the lawsuit, Kruger emailed Foster Kramer, an editor for Complex at the time, a Microsoft Word Document labeled “fools. doc.” “What a ridiculous clusterfuck of totally uncool jokers,” Kruger wrote, “I make my work about this kind of sadly foolish farce. I’m waiting for all of them to sue me for copyright infringement.”

Barbara Kruger’s solo exhibition, “THINKING OF YOU. I MEAN ME. I MEAN YOU.,” is infused with pop-art, bold typefaces, and cultural criticism: a subtle reflection of how her work has been ironically capitalized off of by Supreme. In its entirety, her work fits into a broader artistic movement of Postmodern Art which sinks deeper into identity politics and prompts the viewer to question contemporary circumstances. With stark references to popular culture over the past four decades, her exhibition features vinyl room wraps, multichannel video installations, and audio soundscapes.

The growth of American consumerism can be traced back to 1951 when private wealth substantially increased for the majority of the country. Citizens were then expected to own cars, washing machines, and televisions. These were luxuries that pre-World War II generations only dreamt of having in their homes.

The provocative language layered on each wall almost teases the viewer for contributing to a capitalistic world that places such grand emphasis on trivial concerns of physical appearance and material possessions.

As Kruger reflects in her art, this dystopia of overconsumption brought the notion of being a good consumer into existence.

This habit of buying for temporary pleasure is a faux way of constructing one’s sense of self. To breach this structure of over-consumption would be to shatter how Americans now perceive their very being. And yet brands like Supreme rely on this foundation that consumers will only be whole if they can afford a logo.

That notorious red box symbolizes class and status: the only possible way for consumers to fulfill a halfhearted utopia. The dichotomy present within the brand gives the merchandise hype while still feigning the anti-luxury ideology of the stereotypical indie “skater.” Indeed, this is precisely why consumers will file into line on Thursday mornings for $500 sweaters with nothing more than a stolen logo. As many have said before, Supreme has intellectual property theft sewn into its DNA. Though, perhaps it’s only fair to return to Suprem’s humble beginnings.

“I always really liked what was coming out of the skate world,” Jebbia told Vogue. “It was less commercial—it had more edge and more fuck-you type stuff.” And yet, isn’t “commercial” precisely what Supreme has become? Nonetheless, the allure of consumerism remains a way for consumers to transcend their initial senses of “self,” regardless of pre-circumstances of birth, gender, or race. There is something to be said of the ways in which generations nowadays view their material possessions as extensions of who they are. It is this notion that walking through one’s bedroom would reveal layers of identity hung in closets and flung into laundry baskets.

The spectator forms their own assumptions about who resides in those clothes, and behind a logo that speaks far more volumes than what meets the eye.

THE ECCENTRICITY & ABSURDITY OF TECHNO.

WRITTEN BY ANNA-MARIE GUENTHER + ILLUSTRATION BY LILY GLANTZ

While standing in line for hours in the first flush of the morning clad in almost exclusively black latex and leather ensembles may sound unusual, this routine is hardly out of the ordinary for Berliners.

The city itself uses the lack of closing time to lure in visitors, presenting an opportunity to delay sleep for consecutive nights of total freedom. The evolution of techno as the music genre that is largely associated with Berlin nightlife began with the fall of the Berlin Wall and the absence of regulation that came hand-in-hand with abolishing curfew. Abandoned powerplants, factories, bunkers, underground stations, and hangers became home to uninterrupted nights of dancing and exploratory drug use. These ownerless playgrounds, void of legal restrictions, became the quarters of the city’s underground party scene. The sense of privacy, paramount to a night in Berlin, grants an undisturbed celebration of feeling alive and present in existence.

Just as the techno scene has morphed into a nocturnal phenomenon, the exhibitionistic clothes of its participants have seen an ascent into mainstream fashion. Although no rigorous dress code is the difference between being granted entrance or denied, the decider is often whether the appearance is one of conformity to a perceived unspoken rule or a level of comfort in oneself and an outfit. If you were to catalog the clothes appearing on club crawlers, the following for a dark gothic-style embellished by elements borrowed from erotica and BDSM culture would be of note. Lingerie, chains, latex, faux leather, animal print, fishnets, and chokers are staples of party-goers but not tickets for guaranteed entry.

The embodiment of authentic individuality translates to acceptance into the spaces that make a point of disregarding the limitations of time and the labels of identity. Rather than interpreting this requirement for entry as strict conformity to a set of rules entrenched in techno culture, the willingness to be wholly honest

DESPITE THE EXCLUSIVITY OF THE MOST FAMED CLUBS, MANY VENTURE OUT IN THE EARLY HOURS OF THE MORNING TO TRY THEIR CHANCES AT ENTERING THE MYTHIC WALLS OF THESE HISTORIC NIGHTCLUBS THAT, TO SOME DEGREE, SERVE AS CULTURAL LANDMARKS OF THE CITY.

ANY APPARENT DISCOMFORT IN CLUBBING CLOTHES AND FALSE REPRESENTATIONS OF ONE’S IDENTITY THROUGH THE OUTFIT CHOSEN IS HEAVILY FROWNED UPON, AS THE NIGHTLIFE ESTABLISHMENTS SERVE AS SYMBOLS OF FREEDOM, RELEASE, AND RELIEF, NOT A COMMODIFICATION OF ILLEGAL PARTIES.

Although Berlin enjoys global attention from the allure of hush-hush, untamed, and burgeoning nightlife, there is much to be said about its reputation as the epicenter and birthplace of techno. Rather, techno as a musical concept began in Detroit, Michigan. Once an industrial metropolis with luster, much like Berlin, the underground party scene was a direct consequence of a craving for escapism.

FROM THE INTERTWINING OF 70S/80S DISCO AND EDITS FROM EUROPEAN TEUTONIC SYNTH-POP TO HARD-EDGED FUNK AND CHICAGO HOUSE, THE MACHINE SOUNDS OF TECHNO WERE BORN.

The crystallization of techno in Detroit encapsulated the city’s vision for the future but allowed for aggression and frustration with the present conveyed through the trance of the head-bludgeoning bass and ice-synth melodies. The sensationalized aspects of Detroit’s history in its struggle and triumphs often overshadow its contributions to the creative orbit, particularly in its conception of techno and related ties to street and hype fashion with workwear brands such as Carhartt.

BOTH CITIES SHARE THE NEED TO TELL

The difference between them, however, is the celebration and monetization of its mainstream success and popularity in the European sphere and, comparatively, the music genre and its associated culture’s complete failure to integrate into the United States. Now, used as a backdrop for an inferno of dance, drugs, and creative expression, techno has mutated and been co-opted for its service to european audiences. Synonymous with raving attire, techno has birthed its own dedicated fashion sector that can now communicate an understanding of the scene’s social etiquette and its historical basis or, rather, demonstrates the appropriation of its origins and its insignificance to those chasing drunkenness and euphoria.

STORIES, TO PRESERVE AND VALIDATE THE VULNERABILITY AND INTENSE EMOTION DURING TESTING TIMES, AND TO UNAPOLOGETICALLY CREATE SPACE FOR THEMSELVES.

WRITTEN BY MEGHA GUPTA

The Perceived Perfection of Kathak

Kathak, one of six classical dances from India, was originally performed as a temple dance in Northern India to depict Hindu epics such as the Ramayana. Kathak spread across India as nomadic kathak dancers traveled from temple to temple to share their gift of performance with the rest of their people. The widespread performance of kathak was slowly corrupted over the course of time as a result of foreign invasions and the degradation of the women involved. The destructive nature of European imperialism introduced widespread corruption within colonized societies, breaking down traditional cultures and imposing western norms upon “barbaric nations”. As a result, offensive stereotypes perpetuated by white, colonialist sentiments increased as kathak dancers were relegated to brothels and reduced to prostitution. The negative connotations surrounding the nature of the dance spread as many women found themselves in a position lacking bodily autonomy. Rather than allow themselves to fall victim to corruption, kathak dancers manipulated what little control they had over the art form to use it as a means of illusioned escape. The hours of dedication poured into perfecting the art forms of kathak as well as the discipline of devotion allowed dancers to disappear into a mirage when in reality, it acted as a survival method to allow them a reprieve from the destruction of their dance form. Traditional garb became richly embroidered with bright threads and embedded jewels in an attempt to convey the infinite euphoria kathak offered. Kathak dancers resisted the alteration of their dance by portraying a semblance of stability and perfection through both form and costume to ensure the survival of the kathak culture.

Kathak’s origins trace back as early as 400 BCE, as found in the Natya Shastra, a text consisting of over 6000 verses describing attributes of the dance itself. The text emphasizes that kathak style dance is an art form of expression of spiritual ideas and essential virtues meant to display stories and myths depicting nothing less than the greatness of Hindu pantheology. Kathak became associated as a dance form dedicated to worshiping the Hindu gods, more focused on the actual art of performance rather than the costumes worn by the dancers. Kathak performers were nomads translating the stories through dance, foot movement, and facial expression. Their simple cotton garb of white ‘churidars’, or tunics, and ‘chunis’, or long veils, tied across their bodies was meant to emphasize their expressions without distraction to their art.

After India was conquered by the Mughal emperors of Persia, high Mughal nobles brought kathak to the Mughal courts as a way to entertain high-ranking aristocrats. Due to high religious tensions, kathak dancers began to evolve the art of their performance into stricter arm gestures and intricate footwork to please their new Muslim leaders and rid themselves of ‘untamed’ Hindu traditions. This was most notably translated into the costumes. Simple churidars were replaced with elaborately decorated churidars featuring bolder colors and intricate embroidery. The skirts of the churidars were tailored to be pleated yet flexible so when dancers spun, their skirts would billow around their waists in

KATHAK DANCERS RESISTED THE ALTERATION OF THEIR DANCE BY PORTRAYING A SEMBLANCE OF STABILITY AND PERFECTION THROUGH BOTH FORM AND COSTUME TO ENSURE THE SURVIVAL OF THE KATHAK CULTURE.

perfect circles. Chunis were woven more transparently and trimmed with brilliant gold fabric. Gold and silver was woven into each dancer’s hair and draped across their arms and necks to install a sense of regality. The drastic change in traditional outerwear marked the women as nothing short of perfection, representing an artform that provided a pathway into the utopia of the riches within Mughal court. Women performing kathak were dressed and used as objects to portray the image of royalty upon the common people as their sense of worth slowly degraded in the eyes of the court given they were forced to perform.

THE DRASTIC CHANGE IN TRADITIONAL OUTERWEAR MARKED THE WOMEN AS NOTHING SHORT OF PERFECTION, REPRESENTING AN ARTFORM THAT PROVIDED A PATHWAY INTO THE UTOPIA OF THE RICHES WITHIN MUGHAL COURT.

As the British Raj descended upon India in the 19th century, kathak was considered vulgar and was received poorly amongst missionaries. Their distaste for the dance spread quickly across the subcontinent as they were repulsed by what they perceived as seductive facial gestures and expressions, marking kathak dancers as “harlots''. They launched a movement against kathak, and primitive media was quick to dehumanize the dancers and regard them as nothing more than money-makers for brothels and a stage for open prostitution. The British’s misinterpretation of the delicate costuming of the Mughal era coupled with the body movements of kathak portrayed the dance in a negative light, mistakenly taking the elaborate dress and jewels as favors bestowed upon the dancers by rich lords and kings. Foreign invaders such as the Mughals and the British destroyed the one high-held respect kathak once carried, and the overwhelming effect of Western influence reduced kathak’s reputation to a street dance performed by prostitutes.

With what little power they retained, kathak dancers attempted to retreat back to the folds of the illusion of perfection they had been trained to portray during the times of Mughal leaders despite the oppression they previously faced. Chunis became less transparent in attempts to remain more conservative while being draped across their churidars and covering their hair. Saris became more fashionable amidst the dancers as longer, looser skirts and tighter blouses became increasingly popular. More gold jewelry was added, including bigger ‘tikkas’, a pendant dangled above their eyebrows on a chain. Amidst the easy flow of their heavily embroidered skirts, dancers lost themselves in a world of imagined reality as they conveyed the ancient stories from the realms of Hindu mythology. They were art meant to be desired yet not touched, ethereal beings that represented everything sacred about the utopian escape their performance provided.

Kathak’s forced transformation at the hands of ruling imperialists was used as a means of escape from the dismal realities of the world of colonization. Given the negative connotations bestowed upon the kathak culture as well as the colonization of the dance form itself, dancers retreated into the illusion of the utopia they had created within the art of kathak as a means to ensure the survival of the dance. The change in traditional costume added to the effects of the perceived perfection dancers portrayed through their elegant performances. The ever-changing styles and addition of brighter details allowed dancers to convey the utopia envisioned through the agency of the Hindu religion.

Written by Natalie Semersky

Celebrities post on Instagram, promoting their favorite brands and receiving sponsorships from huge fashion companies. Red carpets showcase revamped versions of ‘90s trends via media coverage. Teenagers scroll through social media, seeing friends post Shein hauls with monstrous loads of new, short-lasting clothing items.

As the fashion industry turns to technology to expedite its trend forecasting, design, sales and fabrication processes, the industry is able to detract attention from the impacts of fast fashion. The cycle of clicking a button, waiting for two-day shipping and discarding relatively new but fallen-apart garments repeats constantly. This planned obsolescence has caused the traditional two-season-a-year fashion industry to expand. Companies are pushing for a new clothing season every week, creating a 52-season-a-year standard. Behind the scenes, workers struggle to keep up with the grueling production cycle.

Fashion journalist Mathilde Charpail details some first-hand accounts from international clothing laborers describing the overwhelming impact fast fashion has had on their working conditions. Massive factories with huge numbers of workers and small, consolidated leadership bodies support the steady flow of production. Children like those in the Sumangali regime in South India are sent to fashion companies to labor for 3 to 5 years in exchange for a lump sum equating to their dowry. Charpail follows the story of thirteen-year-old Dulala, a boy working under the regime to create shirts for Zara, Walmart and H&M. The shirts he creates are worth $20 in America, which is what he earns in a month. Meeting quotas is his priority. From rescinded water breaks to increased hours, he faces human rights violations while the companies he produces garments for prioritize consumer satisfaction, advertising new styles and appealing to young consumers with their cheap products.

Stories like these are powerful reminders of the impacts of the modern fashion industry on public health and human rights conditions in countries known for production, but it is easy to purposefully ignore impacts like these and choose the convenience of ordering from massive retailers.

DIGITAL CONSUMPTION’S IMPACT ON THE FASHION INDUSTRY HAS HAD PROFOUND IMPACTS: SOCIALLY AMONG CONSUMERS, ECONOMICALLY AMONG BUSINESSES AND MORALLY AMONG WORKERS.

WHILE THE SIMPLE CONSUMPTION PROCESS OF CHEAP GARMENTS IS OUTWARDLY IDEAL AND UTOPIAN, THE FAR-FROM-PERFECT PRODUCTION PROCESS SHOWS THE TRUE DYSTOPIA OF THE MODERN FASHION INDUSTRY.

With innovations in fashion technology replacing existing mechanisms for production, the possibility for a utopian future where automation meets consumer quotas is surfacing. Industrialization is giving a glimpse into this future, which contrasts the very labor-intensive production process currently seen in the industry. While this futuristic possibility is slowly gaining popularity, the process of switching entirely to automation is difficult and unlikely, both from the financial perspective and the logistical one. Shifting factories from using cheap labor found in the Global South to expensive new technologies is fiscally unattractive to large corporations who currently receive no negative impacts from exploiting their workers. Additionally, creating a massive, industry-wide shift to mainly automated production would require an industry standard to use more sustainable practices — one that is unlikely in the near future.

On top of the impacts of fast fashion on the labor market, the constant production of new clothing has significant environmental impacts. Asian countries with more lenient environmental standards allow runoff from clothing factories to pollute freely. From fertilizers used on cotton fields to arsenic used for textile treatment and dyes, pollution in water is both common and detrimental to natural ecosystems. Sourcing clothing from countries with stricter environmental standards is a solution to this problem, but this comes at a higher price and larger inconvenience to speed-focused shoppers.

While modern-day fashion is convenient, cheap and trendy, its impacts socially, economically and environmentally are powerful.

The false utopia marketed by fashion brands is instead a harmful reminder of how easy it is to allow consumers to be peacefully ignorant of the faults in the fashion industry, widening divides between producers and consumers. By advertising technological advancements and boundless opportunities for fashion exploration as a byproduct of fast fashion, the dystopian impacts of consumption on those working for fashion conglomerates are hidden. This furthers the cycles of consumption and poverty, allowing ignorance to be a powerful weapon in the fashion industry’s success.

WHILE THE SPEED AND EASE OF FAST FASHION CREATE AN IMAGE OF UTOPIA BY CONSTANTLY PRODUCING CONTENT AND PRODUCT, THE REALITY OF THE MODERN FASHION INDUSTRY IS INSTEAD AN ILL-POWERED DYSTOPIAN RELIANCE ON INSTANT GRATIFICATION.

Flashing lights with an almost dizzying effect, vibrating techno music that frantically spikes and falls, and psychedelic drugs that amplify physical sensations and enrich the emotional landscape are all trademarks of the common “rave.” Names like “Escape” and “Beyond Wonderland” illustrate how these electronic music festivals are created with the purpose of providing a heightened out-ofbody, otherworldly experience. While these events are usually dismissed as simply another method of partying, behind all the glamour lies four core values. Colloquially coined “PLUR”—short for peace, love, unity, and respect—these main principles form the backbone of this unique subculture, one with its own values, rituals, and standard of dress.

Borne from a desire for expression by the gay and Black communities, raves, at their core, are a departure from dreary reality, and attendees aim to look the part. Their bodacious, dramatic attire was a form of peaceful resistance; in a culture that did not accept them, their proud self-expression was a powerful form of protest. Rooted in the union of two outcasted communities, raves have become a safe haven for all people. Thus it is no surprise that nonconformity has always remained central to the standard of dress; it is always clear to outsiders who is participating in this subculture, as attendees often dress in ways that separate them.

The distinctive nature of rave fashion has served as a source of inspiration for many fashion brands. Miu Miu, a derivative of Prada, successfully encapsulates the spirit of this escapist subculture and lives up to its fun and playful reputation with their 2017 Spring/Summer Collection dubbed “Resort.” To begin, this collection heavily features astronomical patterns; stars, planets, and discs that are reminiscent of the rings of Saturn decorate many of the pieces of this collection. These planetary influences coupled with their use of reflective fabric create notable celestial overtones, granting wearers with an aura of strangeness that naturally alienates viewers.

Besides these space ornaments, Miuccia Prada also experiments with other zany patterns including custom, pastel checkers and bright paisleys, stacking them on top of one another to create an in-your-face, unignorable statement. While the pairing of these patterns is already bold, Prada truly ventured into no-man’s-land when she paired these patterns with wildly different textures—ranging from satin to velvet—and added eccentric socks and chunky, heeled Mary Janes to the already eclectic mix. The end result is captivating, and Prada’s willingness to do something outlandish is an embodiment of the quintessence of rave subculture: self-expression to the highest degree, regardless of how bold or outrageous, and without judgment from the self or others.

“NAMES LIKE “ESCAPE” AND “BEYOND WONDERLAND” ILLUSTRATE HOW THESE ELECTRONIC MUSIC FESTIVALS ARE CREATED WITH THE PURPOSE OF PROVIDING A HEIGHTENED OUT-OF-BODY, OTHERWORLDLY EXPERIENCE.”

With its feature of neon shades, satin bucket hats, and baggy pants, “Resort,” heavily draws inspiration from ‘90s rave fashion. Like its name suggests, this collection serves as an escape from the problems of today by taking viewers back in time; in retrospect, the past always seems like a comforting refuge. At first glance, this collection seems to reveal that rave fashion has taken quite the turn, as this ‘90s capsule is visually very different from the skimpy, mesh-heavy rave attire of today. However, it is upon closer examination that one realizes both are rooted in the same principle; whether it be by mixing and matching loud patterns or revealing a great deal of skin, both have allowed participants to use fashion as an outlet to temporarily rid themselves of an imperfect world in favor of a fantasy one, by tossing out the former’s rigid rules and restrictions.

The combination of a funky wardrobe, booming live music, psychedelic drugs, and the adoption of PLUR creates the enchanting atmosphere found at rave parties. It is the experience of being surrounded by people—some that are familiar, and many that are strangers—who all share a love for the music being played and a mutual understanding that this is an escape from the social pressures and problems of the outside, defective world that creates a beautiful feeling of connectedness: one so powerful that it is often described as magical. This sentiment of true unity, cherished by all who have had the luxury of experiencing it, but found in few other places, compels people to return and is what ultimately makes these spaces sacred.

“THE END RESULT IS CAPTIVATING, AND PRADA’S WILLINGNESS TO DO SOMETHING OUTLANDISH IS AN EMBODIMENT OF THE QUINTESSENCE OF RAVE SUBCULTURE: SELF-EXPRESSION TO THE HIGHEST DEGREE, REGARDLESS OF HOW BOLD OR OUTRAGEOUS, AND WITHOUT JUDGMENT FROM THE SELF OR OTHERS.”

Creative Director: Joy Chen | Editor-in-Chief: Tiffany Hue | Hair and Make-Up: Skyla Swafford |

Stylist: Lynn Aiko | Creative Operations Associate: Marie Godderis |

Social Media Coordinator: Anais Clancy | Arts & Culture Editor: Juliette Cornet

BY TIFFANY HUE + JOY CHEN

DISCOVERING UTOPIA

UTOPIA WITH ASHLEY

When people think of a utopia, they conjure ideas of idealism and perfection. They dream of worlds filled with awe-striking visuals, sublime sophistication, and an overall immaculate perception of reality. However, in our modern world, utopias are spaces we create for ourselves.

There is something incredibly intimate about personal space, and our own reality is the only thing in life we have to ourselves. It certainly takes unadulterated sacrifice for someone to surrender their private realities to share with audiences across the globe, and lifestyle creator Ashley Alexander, whose authentic content is shared under the pseudonym ‘Ur Mom Ashley’, is one of the courageous souls to do that.

Donning elegant gowns from Bronx & Banco and Camila Coelho, Ashley’s grace came naturally in the studio. With authenticity being the key to content creation, Ashley is a prime example of how genuine behavior breeds success. Her rise to fame fittingly paralleled the chaos of the pandemic, and Ashley created a welcoming and entertaining space for audiences to rely on during the loneliness of modern times. The beauty of contemporary content creation is that we can insert ourselves into a vast array of different realities.

With her content, Ur Mom Ashley does something incredibly pragmatic: we travel the streets of New York, accompany her to hair appointments, watch her grab the best matcha of her life at Cha-An down in East Village, and get rowdy with her siblings whenever they’re in town together. We all enter her utopia from the comfort of our own homes, though it always feels like we’re right there with her. What makes Ashley her true authentic self is her fearless ambition in being truly

IT CERTAINLY TAKES UNADULTERATED SACRIFICE FOR SOMEONE TO SURRENDER THEIR PRIVATE REALITIES TO SHARE WITH AUDIENCES ACROSS THE GLOBE, AND UR MOM ASHLEY IS ONE OF THE COURAGEOUS SOULS TO DO THAT.

ASHLEY CREATED A WELCOMING

ENTERTAINING AUDIENCES

DURING THE OF MODERN

CREATED WELCOMING AND ENTERTAINING SPACE FOR TO RELY ON LONELINESS

MODERN TIMES.

who she is. “I’ve always been a goal-setter,” the creator says with a smile. “I love things that seem out of reach, things that get me out of my comfort zone. I want to explore life as it is and almost scare myself a little bit, because it forces me to take a step back and be mindful about the world around me.”

There is no reality without introspection. As a content creator, Ashley is a curator of her own reality. The magic of her videos is that the genre is simply her lifestyle. She doesn’t box herself into a specific kind of content; rather, she shows people how everything is.

SHE DOESN’T BOX HERSELF INTO A SPECIFIC KIND OF CONTENT; RATHER, SHE SHOWS PEOPLE HOW EVERYTHING IS.

The heart wants what it wants, and Ashley never lets anything get in the way of doing exactly what her heart desires. “I’ve always wanted to do YouTube. My heart always leaned toward a creative career, and I worked really hard for it.” It wasn’t easy creating a personal utopia that complemented her passions, but Ashley luckily had some help along the way. “Bethany Mota was always a huge inspiration of mine, and so was Emma Chamberlain.” Citing two incredibly successful female content creators as sources of inspiration certainly proved worthwhile in building her own empire.

Deriving style inspiration from the likes of contemporary designers like Sandy Liang, Ashley is certainly becoming a trendsetter for the modern age. “The future is always exciting because I could be doing anything,” she says of how external forces like style icons can affect her future reality. “As a YouTuber, I have no idea how my life is going to change. Every year of my life has been so different. Sometimes it’s great, and sometimes it’s hard, but that’s okay.” The beauty of creating an intimate utopia with her audiences is exactly what produced her success in the first place––her versatile mind creates versatile content, so much so that even her audiences spread across a wide array of demographics. She doesn’t just create one archetype of an individual, she creates what she feels like making, and that’s why people are captivated by her content.

THE BEAUTY OF CREATING AN INTIMATE UTOPIA WITH HER AUDIENCES IS EXACTLY WHAT PRODUCED HER SUCCESS

Fans of the creator are already familiar with Ashley’s sidesplitting yet blasé siblings, Amber and Andrew. The family-oriented creator is keen on reconnecting with her roots in the foreseeable future, and her fervor is magnetic. “I’m excited to travel a lot more as someone who didn’t grow up going to many places. I’m half Korean and I’ve never been to Asia before, so I’d love to go to Korea with my mom and see where she came from.” If you know Ur Mom Ashley, you understand that her creator pseudonym is aptly tied to the idea of family, as is much of her content. We wouldn’t be where we are today without our families, and Ashley is an avid proponent of including her family in the utopia she creates.

The content that Ashley produces is simple: it’s an authentic representation of reality. Between intimate videos with her siblings to extravagant content of her travels, Ashley finds the realness in it all. There is much to be learned from content creators like Ur Mom Ashley, because she shatters the usual expectation of what a utopia should be––she creates a realistic idea of utopia, one cluttered with fun but also with flaws, one filled with incredible opportunities but also with humanistic experiences.

Content creation isn’t about creating a cult following of viewers who flock to your content in do-or-die fashion, it’s about creating a utopia that people want to revisit over and over again, because they’re experiencing something great. Ashley is doing just that. Today, you can find her traveling the world alongside her family and friends, and loyal fans will be pleased to hear that she is soon launching her own line of matcha, a signature drink of the creator herself. Among her wildly hilarious YouTube videos, trendsetting Instagram styles, and intimate conversations with her siblings, there is no reason you should not be a part of the utopia Ur Mom Ashley is creating, because she has only just begun.

META SAYS: THANK YOU

THANK YOU MERCI XIÈ

XIÈ BEDANKT SALAMAT KIITOS DANKE SCHÖN

MAHALO IĀ ‘OE TERIMA

KASIH GRAZIE ARIGATŌ

GAMSA HAEYO GRATIAS

TIBITEŞEKKÜRLERASANTE

Thank you for reading along our journey in discovering what a real utopia can be alongside the burgeoning minds of young creatives. As an independent publication, this would not have been possible without all your incredible support, and the work that has been made by our team and shared by audiences has allowed us to create an editorial, our own utopia, of which we are incredibly proud.

To our staff, thank you for being the best team we could ever ask for. The past two and a half years together have been a steep learning curve filled with so much knowledge and growth we could have never achieved without you. It is with your talent that we are able to continuously share incredible publications that exhibit some of the most exceptional artistry.

Issue 07: UTOPIA celebrates the experiences that shape how we see the world. Thank you to everyone who has helped our dreams come true. It is only with our collective spirit that we can share such an unmatched sense of craftsmanship we can all be proud of.

THANK YOU SHOP THE EDITORIAL