Moda Madison: Fall 2016 Print Issue

CLOSE TO CAMPUS

FAR FROM ORDINARY

ANTHROPOLOGIE CAFÉ HOLLANDER EVEREVE FREE PEOPLE KATE SPADE NEW YORK LUCKY BRAND LULULEMON ATHLETICA LUSH COSMETICS MADEWELL METCALFE’S MARKET MICHAEL KORS THE NORTH FACE PURE BARRE SUNDANCE CINEMAS SUSHI MURAMOTO TITLE NINE TWIGS THE UNIVERSITY BOOK STORE

726 N. MIDVALE BLVD MADISON HILLDALE.COM

Meg Rotter Editor in Chief Claire Hornacek Deputy Editor Alexandra Folino Art Director Victoria Fok WUD Publications Committee Director Jim Rogers WUD Publications Committee Advisor Deshawn McKinney WUD President

FALL 2016 Alix DeBroux Associate Art Director Claire Grummon Marissa Haegele Photography Directors Jameson Zaballos Web Master Ben Golden Arts Curator Kelsey Daykin Reilly Koch Creative Directors Alexa Carlson Fashion Editor Darby Hoffman Lifestyle Editor Haley Nippert Culture Editor Margaret Duffey Arts Editor Jameson Zaballos Men’s Editor Anna Olla Eva-Delilah Wieland Special Events Coordinators Taylor Palmby Marketing and Social Media Liason

Staff Writers Jenn Chen, Amelia Faist, Sarah Friedland, Cassie Hurwitz, Kelsey Knepler, Briana Lerner, Ashley Mackens, Ashley Ng, Leah Voskuil, Eva-Delilah Wieland, Kelsey Wilkerson Contributing Writers Madelyn Sundquist, Taylor Palmby Models Dove Carlisle, Francis Castro, Catherine Finedore, KK Grenade, Matt Heinen, Shelby Kahr, Samantha Krusic, Taylor Palmby Kaila Ruppel, Julia Schiller, Nova Sol, Jordan Stombaugh, Yuan Tao, Emily Toboyek, Claire VanValkenburg, Medea Valentino, Luke Vogel, Jameson Zaballos, Lily Zwaska Photography Jenn Chen, Caroline Daniels, Claire DeRosa, Alex Esch, Alexandra Folino, Claire Grummon, Marissa Haegele, Akmal Hakim, Meredith Johnson, Victoria Lee, Meg Rotter, Cameron Smith, Morgan Winston, Moriah Ziman Makeup and Hair Francis Castro, Cassie Hurwitz Special thanks to Besselli, Marc Nelson from Timeless Tattoos Roger, Dwan and Darcy from Walnut Ridge Farm

on the

COVER

Claire VanValkenburg photographed by Cameron Smith Makeup by Haley Nippert

CULTURE

15 41

RACIALIZED RIVERWAYS When water becomes an oppressive resource

COME AWAY TO THE WATER Mermaids, mythology and transgressive womanhood

ART FALL 2016 FASHION

5

22 38 44

SHORT IN INCHES. PLENTY IN STYLE. A petite style guide

STYLE SANCTUARY The boho dream of a mother-daughter duo

A FASHION FRENZY When do brands reach cult status?

THE CERULEAN MONOLOGUE Fashion lessons from Miranda Priestly

LIFESTYLE

8

TAKE THE PLUNGE: CREATING THE ‘WET’ LOOK Dive into this season’s favorite beauty trend

26

DON’T DROWN: THE DANGERS OF BINGE-WATCHING

46

TUB TALK

4 | FALL 2016

Think twice before you Netflix & chill

Relaxation is the bomb (bath bomb that is)

12 23

SENSUALITY TO SELF-LOVE

36 40 45

COVERED IN INK

The art of the tease

FILM PHOTOGRAPHY: SUBMERGE INTO THE PAST Before there was Valencia and #hashtags

How a Madison-area man went from college student to tattoo apprentice

ACTING OUT THROUGH ART When art speaks louder than words

GAMING GAINS: INTO AN ALTERNATIVE REALITY Do the benefits of video games outweigh the risks?

MEN’S

10 47

STYLE CONFIDENCE Snapshots of where confidence in style takes us

MR. WEST: A DESIGNER, OR AN ARTIST? A design student’s take on Kanye West’s foray into fashion design

FEATURED

18 28

GOLDEN FALL Surround yourself in texture and color

BY WAY OF WISCONSIN Moda takes the reins on classic Midwestern style

1650 Deming Way | Middleton, WI | www.greenwayshopping.com

{ like leggings, boots & flannel }

Bath & Body Works | Biaggi’s Ristorante Italiano | Chico’s | Christopher & Banks | Cold Stone Creamery | DSW | Endurance House Francesca’s | Freska Mediterranean Grill | Fuddruckers | Fuji Sushi & Hibachi | Glimpse LASH | Guitar Center | Happy Nails & Spa | HomeGoods Ideal Image | J.Jill | Johnny’s Italian Steakhouse | Jos. A. Bank | Justice | LANG | LOFT | Marshalls | Maurices | Michaels | Noodles & Company Orvis | Pendleton | Portrait Innovations | Soft Surroundings | Studio 262 Salon | Tanner ’s Bar & Grill | Thirty State | Tuesday Morning | World Market

Only six miles from the UW-Madison campus.

Take University Avenue west through Middleton. Turn left at Deming Way.

E

letter from the editor

COMING UP FOR AIR very semester it happens: the first day of school arrives and I am instantly submerged into a world of exams, required readings, papers and internships. While it’s exciting to explore all the different classes and opportunities that the university has to offer, saying “yes” to everything can quickly become overwhelming.

Although I am someone who generally prefers to stay busy, there are moments when I feel trapped amidst deadlines and course work, and the stress of doing my best at everything becomes too much to handle. Earlier this year, I began to resent my crazy schedule of activities and wanted nothing more than to lie in bed eating pizza and binge-watching Netflix.

Editing articles began feeling like a chore and keeping up with current events felt depressing. I was drowning.

While my inner perfectionist helped me get where I am today, at the time it had become my greatest enemy, causing me to stay up half the night re-reading articles and editing papers. I wanted to be excited by what I was doing again, but I worried that growing up and having greater responsibility had changed me.

However, I learned how I could break this cycle. I started doing little things for myself, like blowing off a class to go see my favorite yoga instructor or treating myself to a gorgeous pair of suede boots (that were also surprisingly comfortable).

Taking these little moments to metaphorically stop and smell the roses allowed me to re-center myself and consider what was actually important to me.

When creating our issue this fall, we gravitated towards the theme Submerge. After Moda’s rebranding last year, we felt it was time to go deeper into our purpose and identity as a magazine. Once establishing our theme, I was amazed (as always) by the many unique connotations of the word that our editors and writers used, interweaving their stories to create something that appeals to everyone.

Reflecting on the journey that started with a meeting in a sterile conference room and finished with the magazine in your hands, I now realize that all the stress, momentary meltdowns and hours of editing were completely worth it. Looking at the finished product, I see a writer describing to me how they envisioned their spread to look and a publisher kindly offering ways to reduce spending.

As you read our fall issue, remember to slow down, take a breath and dive into the stories our editors and writers thoughtfully crafted.

Best,

MODA MAGAZINE EDITOR-IN-CHIEF CAN’T GET ENOUGH OF US? FIND US AT: MODAMADISON.COM

6 | FALL 2016

FACEBOOK.COM/MODAMADISON

@MODAMADISON

SHORT

IN

I N C H E S .

P L E N T Y IN STYLE.

BY ASHLEY NG, FASHION EDITORIAL ASSISTANT EMILY TOBOYEK PHOTOGRAPHED

BY CLAIRE DEROSA

It’s evident that not all bodies are made the same. We vary in height, shape and size. As many women can attest, this constructs an inevitable hurdle when it comes to finding clothes that fit properly. Women measuring 5’4” and under can be classified as petite. Measuring in at 5’1” myself, I’ll be the first to admit to the constant struggle of finding clothes that don’t consume me. If it’s not too long, it’s too baggy. Why can’t my clothes just fit me like they do Kendall Jenner and Gigi Hadid?

For starters, the female runway model height requirement is typically 5’8” to over 6’ tall, according to Fashionisers.1 So let’s assume the average supermodel is 5’10”; that’s five inches taller than the average woman. Not to mention, it’s at least six inches taller than most of the petite population.

For all you short women out there, don’t let this discourage you from wearing your favorite styles. Here are ten tips to help you pull off just about any look.

1 Tamar Najarian, “Most Famous and Successful Short Supermodels in Fashion History,” fashionisers.com

FALL 2016 | 7

#3

MORE FLOW, LESS FLUFF. THIS IS A GREAT RULE OF THUMB WHEN IT COMES TO MIDI-SKIRTS.

#1

WHETHER THEY’RE LOOSE BOYFRIEND JEANS OR JEGGINGS, TRY ROLLING YOUR PANTS. YOUR JEANS WILL NOT ONLY FIT BETTER, BUT THEY’LL ALSO SHOW OFF YOUR SHOES.

#2

UTILIZE HIGH SLITS TO SHOW OFF YOUR LEGS AND MAKE THEM LOOK LONGER.

#4

ONE OF THE PROS OF BEING SHORT IS BEING ABLE TO WEAR HEELS WITH ANY OUTFIT.

#6

DRAW ATTENTION TO YOUR UPPER BODY WITH A BOLD PATTERN, CHUNKY NECKLACE OR OFF-THE-SHOULDER TOP LIKE THIS.

#5

AIM FOR A SHORTER HEMLINE THAT SITS ABOVE THE KNEE TO MAKE YOUR LEGS APPEAR LONGER.

TAKE

THE

P L U N G E C R E AT I N G T H E “ W E T ” L O O K

BY CASSIE HURWITZ, LIFESTYLE STAFF WRITER JULIA SCHILLER AND CATHERINE FINEDORE PHOTOGRAPHED BY MORGAN WINSTON MAKEUP BY CASSIE HURWITZ

Bobbi Brown tried it out at Marchesa.

Pat McGrath showcased it at Anna Sui. Celebrities including Kim Kardashian, Scarlett Johansson and Rita Ora have been sporting it for the past few years.

It is no secret – the wet look is in.

Models and celebrities alike have been introducing this look in many different ways. Each showcased a unique spin on the trend, ranging from glossy eyelids, to dewy cheeks and slicked back hair.

Many popular makeup brands also love the style, creating new and improved products to help achieve this beautiful, pool party aesthetic.

But where exactly did this beachy craze begin? Wet style makeup began with the creation of lip gloss, which entered the beauty scene nearly 100 years ago.

The trend continued manifesting itself in many different forms throughout its popularity. Over the past decade, dewy,

glowing cheeks became all the rage and kept glossy makeup in the spotlight.

Now, highlighted cheeks have descended the throne and the gloss has migrated to a new facial focal point – the eyes. Although the other “wet” styles are being rocked around the world, the eyes are the current main attraction. Whether it is simple liner with a clear coat of gloss on the lids, or intense, shimmery blue shadow layered

on neon eye gloss, this trend is beautiful (and wearable, with the right products).

If you want something that not only can multitask but transform the eyeshadow you already own, go for a versatile gloss, like the Milk Face Gloss or the Mac Mixing Medium Shine. These products resemble a clear lip gloss but apply to various areas of the face to adapt your look, including above your eyeshadow or on your cheeks. Use the Mac Eye

Gloss if you want eyeshadow and gloss all-in-one. Apply this to your lids like a regular eyeshadow for serious glow.

If this trend still sounds a bit crazy, take inspiration from some of the world’s biggest fashion and makeup icons.

At the 2016 Video Music Awards, Kim Kardashian looked like she had just emerged from the ocean with perfectly wet hair, glowing skin and glossy lips.

BeyoncĂŠ created a similar effect with

damp hair and glossed lids at her 2014 Grammy performance. Similarly, Rosie Huntington-Whiteley styled wet eyes with slicked-back hair in not only a photoshoot for The Violet Files, but also at the 2013 British Fashion Awards.

Still need convincing? Try out the trend just for fun. You might love it or you might hate it, but you never know until you try. Take the plunge and get wet.

S

BY TAYLOR PALMBY, CONTRIBUTING WRITER AND JAMESON ZABALLOS, MEN’S EDITOR JAMESON ZABALLOS, JORDAN STOMBAUGH, MATT HEINEN, TAYLOR PALMBY AND LUKE VOGEL PHOTOGRAPHED BY AKMAL HAKIM AND ALEX ESCH Fashion is a form of expression, discovery and creativity. Just as it takes time to discover who you are, create your personal brand and express yourself in a unique way, it takes time to come into your own in terms of fashion as well.

Many of you can relate to the days of young adulthood where you wore certain pieces of clothing or accessories just because everyone else was wearing them. We are taught through observation - like learning to talk or drive a car - drawing inspiration from and imitating those closest to us.

12 | FALL 2016

TYLE CONFIDENCE

Eventually, though, inspiration you see on the streets, online and in nature become less of a direction to emulate and more of a point of appreciation. Picking outfits and buying new pieces becomes more comfortable, and a sense of confidence takes over.

This is the next step after getting into fashion: diving into the idea of dressing well and defining “well” completely and totally for yourself.

was full of sweaters and ties. Although it was fun to express my creative, put-together side, at times it just felt a little too rigid and clean. I studied in France my junior year and that helped me throw my fear of fitting into any sort of fashion box right out the window.

I came back rocking black skinny jeans and suede Chelsea boots, and never looked back. The weird, personal blend of prep and streetwear has been my fashion compass ever since.

blocking, patterns, and materials, searching for balance in new ways. I like to drape oversized silhouettes over slim layering pieces, pair minimalist basics with a patterned statement piece or subtly repeat elements (often accents of gold jewelry) throughout a fit to give looks a complete, balanced feeling. Another thing I find myself fixated with is black. I love wearing black. Yohji Yamamoto once said “Black is modest and arrogant at the same time.

Black is lazy and easy - but mysterious.” I think that sums up what I love about black so much. It says everything and nothing at the same time. It is loud and emphatic, yet quiet and reserved.

LUKE VOGEL, MEN’S WRITER

Though typically dynamic, I must admit that the way I style outfits is becoming more coherent and homogeneous. I’m inspired by the idea of a workday uniform, an outfit repeated for good reason; it meets a standard in both form and function. When I get dressed every morning, a sense of procedural protocol exists: throw on a pair of Supreme boxers, some selvedge denim, a warm sweater or sweatshirt, a jacket or coat and a pair of sneakers. This is my suit of armor, keeping my body warm and my mind straight. There is undeniable power in setting a leitmotif that standardizes the emotions that your outfits invoke.

My outfits emit a sense of cozy urbanity.

Despite this change in style, it does not imply conservatism. I constantly strive to look for new ways to apply silhouettes and fresh approaches to layering.

JAMESON ZABALLOS, MEN’S EDITOR High school was the first of many turning points for me, and looking back, I was pretty bad at the whole fashion thing for a while. I bought shirts that were a size too small because I wanted a slim look (I don’t recommend trying it; it just looks bad). Once I got to college, I started to expand my look towards the preppier side, feeling the pressure of fitting in with the high school aesthetic drift away. Freshman year saw a lot of gingham shirts, while sophomore year

JORDAN STOMBAUGH, MEN’S WRITER My older sister introduced me to the world

of fashion. I was in middle school when she went to college and started talking about designers. I took note and became interested in fashion trends. I got my first pair of skinny jeans in the eighth grade. My trips to Europe in high school also made a lasting impact on my fashion style. I started muting my wardrobe to darker colors after seeing the aesthetic in Italy, and bought my first designer pieces during a school trip to France. Today, I would say my style is preppy for the most part. On any given day, you’ll probably see me wearing a buttondown shirt with some dark denim or chinos and leather shoes.

MATT HEINEN, MEN’S WRITER

My personal style floats around a lot day-today, but one consistent presence in my outfits is a sense of balance. Each day when I dress myself, I find myself playing with color

TAYLOR PALMBY, CONTRIBUTING WRITER

I dove headfirst into fashion a few times in my life, and each time I have emerged with a slightly different style than before. In high school, I struggled to express my style in a way that was accepted by my peers. I was constantly wearing thigh-highs before they were cool, ripped leggings and outfits deemed inappropriate by my administration.

During my first year of college, I wanted to leave the drama my unique style had created behind. I dressed as a more mild form of myself and blended in with many other sorority girls who had moderately hipster tendencies. My coming-of-age in the fashion world occurred late in my sophomore year. It was a moment in time when I was finally confident in who I was and who I wanted to be. I began to trust my gut and my knowledge of trends and I started to express them. The result: a 90’s grunge queen. You can find me wearing black rolled up overalls, plaid skirts and flannels, mesh tops and high necklines. I found my style as soon as I let my guard down and decided to be true to myself, and as cheesy as it sounds, the moment I found my personal style I also found myself.

“Picking outfits and buying new pieces becomes more comfortable and a sense of confidence takes over.”

FALL 2016 | 13

Sensuality to

Self-Love

BY EVA-DELILAH WIELAND, ARTS WRITER DOVE CARLISLE, NOVA SOL AND KK GRENADE PHOTOGRAPHED BY MEREDITH JOHNSON

S

he floated across the stage, peeling off her gloves, slinking out of her jeweled gown and shimmying every inch of her body with a confidence that encapsulated every person in the audience on the rooftop of the City Winery. At the end of the first set, my mom and I turned to each other with ambitious eyes. This was something we had to do, and so began our journey into a world of glitter, boobies, butts and self love.

Burlesque originated in the Victorian era as a form of mockery and parody.1 Weldon, Jo. The Burlesque Handbook. New York: !t, Itbooks, 2010.

1

It was a way for the underprivileged lower class to mock the wealthy or make fun of politics and politicians. This comedic element is still seen in much of burlesque today, but the striptease element didn’t evolve until 1920s America. At this time, women were feeling more freedom with their bodies than ever before, so they found solace in cabaret joints and clubs where they could express themselves and their sexuality without shame. Burlesque is the art of the tease, bringing artistic, creative and theatrical elements to strip. Burlesque dancers use stories and costuming to slowly reveal their bodies,

typically only undressing to a thong and pasties, nipple covers decorated with gems or tassels. They often perform to old school music, and use props like boas, fans and other pieces that relate to their story.

Much of burlesque today is still an ode to the glamorous and mysterious sex appeal of the past. For many people, there is something particularly attractive about the styles of past eras, and it carries on through this art. In such a creative environment, there are many progressive and eccentric performers who call themselves neo-burlesquers.

They perform contemporary pieces often inspired by diverse styles. Because of the vulnerability and open-mindedness of burlesque, it is the most accepting community I have ever experienced.

It’s a world that focuses on creativity and charisma rather than identity or background. It becomes a safe haven for a diverse group of people, especially women and those of minority sexual orientation and gender. Burlesque has close ties with drag performance and there is a new wave of male burlesque dancers called boylesquers. Audiences are consistently supportive of any person who has the drive to be on stage. Support from the audiences and the burlesque community empowers performers, building up confidence and providing a creative outlet to explore sexuality.

Similar to the 1920s, when American burlesque originated, there are still societal expectations to suppress sexuality. Burlesque provides a creative outlet and challenges this long-established taboo. It encourages self-discovery and provides a community of support for those who find their confidence through sexuality. Since my first experience with burlesque two years ago, I have come to see the significance of sensuality and the power that can be harnessed through it. I have also watched my mother become empowered by her incredible journey toward self-love. We go to shows, create routines and travel together, making connections along the way with so many people with beautiful stories. Burlesque is fun for the audience, it’s fun for the performers and it’s enabling people of all backgrounds to be their authentic, artistic selves. While aiming to overpower stigmas surrounding sex and selfimage, burlesque gives audience members and performers the ability to embrace and submerge into their sensuality.

16 | FALL 2016

Water is a human right—and I’m not just throwing out that statement unfounded. Water was officially declared a human right by the United Nations General Assembly (UNGA) and the Human Rights Council in 2002.1 Clean water is a human right as well, with the Clean Water Act and many state policies upholding this principle in the United States.

However, this necessity for life— the foundation of every living thing on this planet—is not treated as a guarantee, but rather a racialized commodity. In the past two years, people of color in this country have faced multiple battles over clean water, most recently in the ongoing Flint, Michigan water crisis and the fight against the Dakota Access Pipeline on Standing Rock Reservation. These contemporary examples of negligence from the government in the face of sanitary crises in neighborhoods comprised mostly of people of color underscore the racial divide in the allotment of water resources. Water is inherently political, and the restriction of its access is a tool of oppression.

RACIALIZED

RIVERWAYS:

WATER AS

A TOOL OF

OPPRESSION

IN AMERICA’S

COMMUNITIES

OF COLOR B Y M A D E LY N SUNDQUIST, CONTRIBUTING

W R I T E R

Allow me to first contextualize Flint’s water crisis in a long history of racialized mistreatment of public health resources. In the early 20th century, Atlanta faced a tuberculosis epidemic, erupting as the city forged headlong into the Jim Crow era of intense racial segregation.

In “Civil Rights and Civic Health: African American Women’s Public Health Work in Early 20th Century Atlanta,” Sarah Judson, professor of History and Africana Studies at the University of North Carolina, discusses at length the profound racism in the Atlantan health system during this epidemic. Plainly put by Judson, “white political leaders had no interest in providing for black Atlantans,”2 choosing to save their funds rather than improve water quality and health services for residents in the segregated black neighborhood. While whites were entitled to preventive services in the midst of the tuberculosis scourge, the lower status of black citizens was “reinforced by the lack of services made available to them.”3 Patricia Jones, “Complexity of Protections and Barriers in the Implementation of the Human Right to Water in the United States,” Proceedings of the Annual Meeting (American Society of International Law) 106 (2012): 46.

2 Sarah Judson, “Civil Rights and Civic Health: African American Women’s Public Health Work in Early 20th Century Atlanta,” NWSA Journal 11 (1999): 95.

3 Sarah Judson, “Civil Rights and Civic Health,” 96.

1

FALL 2016 | 17

This sounds familiar for a reason. There is undoubtedly a harrowing parallel between the long unheard demand for sanitation services from the AfricanAmerican community in tuberculosisridden Atlanta and the drowned out cries for help in Flint, Michigan. Both circumstances provoked health crises in majorly black communities, and both were met with willful ignorance and active negligence of the problems at hand. Progressive Era white reformers in Atlanta blatantly “explained the [tuberculosis epidemic] through racist imagery rather than through an analysis of sanitation.”4 In other words, they framed the dilapidation of black neighborhoods—in fact caused by white negligence—as an inherent lack of civilization in the black community, thus justifying further disregard for the community’s health.

The silence in the face of a sanitary tragedy in Flint echoes those antiquated claims.

“

One question remains, the answer to which confirms the oppressive forces at work in Flint’s crisis: why didn’t this small town’s more demographically representative city council step in to help? The answer comes from Rick Snyder, Michigan’s governor, who passed controversial legislation in 2011 to extend his executive power to the act of appointing emergency managers whenever he deemed necessary.9 Emergency managers essentially step in as executives over the local government when a crisis is warranted that a town or city cannot handle through their normal due process. That same year, Flint was running a $15 million deficit, giving Snyder reason to place an emergency manager in charge of the city. In the years to come, this ruling would lead to skimping on water costs in an attempt to resolve that deficit, an act which led directly to Flint’s switch to the contaminated Flint River as their source of water.10 The “ignorance” of the emergency officials would lead to a total of nine arrests for multiple felony counts, including misconduct of affairs,11 confirming that Flint was subjected to the use of toxic water for over a year with the knowing consent of city officials.

WATER IS INHERENTLY POLITICAL, AND THE RESTRICTION OF ITS ACCESS IS A TOOL OF OPPRESSION.

Flint is a city where over 40% of its population lives below the poverty line and the majority of its citizens are African-American.5 It is a fact in this country that people of color often face increased environmental health hazards in their neighborhoods compared to their white counterparts, due in part to economic disparity but also blatant racism. In fact, the task force assigned by Gov. Rick Snyder to investigate Flint’s water crisis in late 2015 stated plainly, “Flint residents, who are majority black… and among the Sarah Judson, “Civil Rights and Civic Health,” 97.

5 Kennedy Merrit, “Lead-Laced Water In Flint: A Step-By-Step Look At The Makings Of A Crisis,” NPR, April 20, 2016.

4

The bottom line is that the city managers of Flint and the environmental quality monitors in the state of Michigan endangered the lives of their citizens knowingly. The EPA, and later a Virginia Polytechnic Institute and State University task force, reported earlier in 2015, long before the official lead advisory was implemented, that Flint’s manager did not call for corrosive inhibitors to be put in the new water source before it switched over, leading to lead and Escherichia coli levels that were indeed too high to be safe for ingestion.7 The Michigan

“

Similar to early 20th century Atlanta, the racism inherent in the Flint tragedy vividly comes to the surface when we examine the time between the first complaints over the city’s water quality and the recognition by city officials of pipe corrosion and contamination.

In May 2014, residents of Flint began complaining of water hardness, as well as their tap’s color and smell after switching from Detroit’s provider to the cheaper Flint River for their water source; it wasn’t until the 25th of September the following year that the Flint city advisory council published a lead advisory warning against ingesting the water.

most impoverished of any metropolitan area in the United States, did not enjoy the same degree of protection from environmental and health hazards as provided to other communities.”6

Department of Environmental Quality (MDEQ) failed to perform multiple tests for lead contaminants in the water during their initial survey of the Flint River, which documented lead levels as safe. Citizens like Melissa Mays, who was hospitalized after she developed severe, chronic pain on one side of her head and began losing hair after the water source switched, directly blame the development of health problems on the city’s intentional neglect of the dangerous “blue-tinted” river water.8 The Editorial Board, “The Racism at the Heart of Flint’s Crisis,” The New York Times, March 25, 2016.

7 Merrit, “Lead-Laced Water In Flint: A Step-By-Step Look At The Makings Of A Crisis.”

8 Semuels, “Aging Pipes Are Poisoning America’s Tap 6

The actions taken in Flint are not standard—this we have to remember. The water crisis that erupted from government disregard for its most marginalized citizens is a product of systemic racism and the unconscious belief that the African-American residents in Flint somehow self-inflicted their waterborne wounds. To imagine such a community tragedy in a predominantly white community is almost unfathomable. And despite the lack of recent media attention, the situation is ongoing.

While we discuss what has already happened to this city, the United States government is still working on passing a bill to provide $170 million dollars to repair the Flint River pipes.12 The trust between citizens and the government has been dashed, and donations of Water,” The Atlantic, 2015.

9 Chris Savage, “The Scandal of Michigan’s Emergency Managers,” The Nation, February 15, 2012.

10 Alana Semuels, “Aging Pipes Are Poisoning America’s Tap Water.”

11 Merrit, “Lead-Laced Water In Flint: A Step-By-Step Look At The Makings Of A Crisis.”

12 Todd Spangler, “U.S. House approves $170 million for Flint pipes,” Detroit Free Press, September 28, 2016.

CNN

DEMOCRACY NOW! clean, bottled water have plummeted since the initial complaints of water quality went national.13 Sometimes oppression takes away the right to clean water in a community, like in Flint; other times, it manifests as a threat to water resources. The fight against the Dakota Access Pipeline (DAPL) is an unfortunate example of the latter. The DAPL is a 3.78 billion dollar initiative by the company, Dakota Access LLC, whose aim is to build a crude oil pipeline through North Dakota and down to Illinois, where it would link up with another line extending into the Gulf of Mexico.14 If the prospect of paying almost four billion dollars for more fossil fuels in this country doesn’t make you gag, the implications for the Sioux tribe in North Dakota will.

The DAPL is set to run next to the Standing Rock Reservation, which has been the Sioux Nation’s land in the state of North Dakota ever since the mid 1950s, when the United States government broke a land treaty with the tribe and swiped much of their land around the Missouri River, from which the government had previously agreed to stay away.15 This issue therefore becomes a two-fold racially insensitive agenda between the government and Dakota LLC: first, in the use of sacred sites Tom McKay, “Bottled Water Donations in Flint, Michigan Have Plummeted, But Crisis Remains,” Mic, July 3, 2016.

14 Gail Ablow, “What You Need to Know About the Dakota Access Pipeline Protest,” Moyers & Company, September 9, 2016.

15 Gail Ablow, “Dakota Access Pipeline Protest.”

13

in previous, yet still rightful Sioux territory, and second, by threatening their main source of water, the Missouri River.

The Missouri River had provided water for peoples around it for centuries prior to the first European explorers hit the Midwest and continues to do so today.

Unfortunately, Dakota LLC chose the most direct and cheapest route for getting their oil to the Gulf, meaning the pipeline is to be laid under the Missouri River near Standing Rock.16 This river supplies the majority of the Sioux’s water, and with most pipelines having a lifeline of a mere fifty years and many instances of breakage in younger lines, the tribe is reasonably outraged by the company’s endeavor.

Threats to clean water aren’t new or necessarily always used as tools of racial oppression: remember back to 2011, when the Keystone XL Pipeline threatened the livelihoods of farmers of all races. But the active disrespect of sacred sites near the Sioux reservation as well as the flippancy of the government towards its native peoples has created an undoubtedly racialized conflict. Protestors organized in mid-August against the laying of the DAPL as construction decimated, without a second thought, several of these culturally important areas for the Sioux.

The company’s response was violence, setting dogs used for company security on the line of protestors who blocked work on the pipeline. Security guards pushed these animals into a peaceful protest, injuring several people, as a 16

Ibid.

blatant, violent attempt to dissuade the Sioux from defending their right to clean water and their heritage.17 From the path of the pipeline, to the historic breakage of land treaties with Native Americans and the violent responses to native resistance, the threat of the DAPL to clean water is foundationally racially oppressive. On the Standing Rock Reservation, the DAPL stands as yet another example of how this country has continually enacted treaties and legislation that denies whole personhood to Native Americans and threatens tribal health, from breeding alcoholism on reservations to taking away vital water resources from the Sioux.

In Flint, the willful and extreme negligence of city officials actively threatens the health of black citizens and fits into the government’s historical narrative around the oppression of African-Americans.

In North Dakota, the Sioux Nation is threatened by yet another white intruder on their rightful territory, this time as a threat to their main source of clean water.

Water is a human right and a necessity for life, but it is this necessity that also makes it a tool of oppression. Despite being a foundational resource for all living beings, as a racially divided country we must never underestimate the powers that be in withholding the guarantee of clean water from its people of color.

Amy Goodman and Denis Moynihan, “Standoff at Standing Rock: Even Attack Dogs Can’t Stop the Native American Resistance,” Democracy Now!, September 8, 2016.

17

FALL 2016 | 19

MAXI DRESS | FREE PEOPLE NECKLACE | JENNY BIRD

A GOLDEN FALL DROWNING IN A BOHEMIAN DREAM OF TEXTURE AND COLOR SAMANTHA KRUSIC PHOTOGRAPHED BY MORIAH ZIMAN DIRECTED BY ALEXA CARLSON AND ASHLEY MACKENS WITH EDITORIAL ASSISTANCE FROM ASHLEY NG

FRINGE JACKET, BELL-BOTTOMS & TUNIC | SHOW ME YOUR MUMU BOOTS | JEFFREY CAMPBELL EARRINGS | STYLIST’S OWN

BOOTS | JEFFREY CAMPBELL

BLOUSE | ELLA MOSS VELVET SKINNIES | FREE PEOPLE FUR JACKET | MOTHER

DRESS | LOVE & LIBERTY BOOTS | STEVE MADDEN EARRINGS | KERRY HUTH

STYLE

SANCTUARY

BY ASHLEY MACKENS, FASHION WRITER SAMANTHA KRUSIC PHOTOGRAPHED BY MORIAH ZIMAN

I can’t think of anything better than being surrounded by family, friends and beautiful boho clothing. Megan Treml, owner of Besselli, gets to wrap herself in these comforts every day. Besselli is a women’s clothing boutique in downtown Green Bay, Wisconsin, that specializes in boho clothing and accessories. Running a family business rooted in her hometown, Megan stresses the importance of creating strong relationships in her personal and professional life.

Besselli started as a mother’s dream that became a daughter’s reality. Megan’s mother, Jayme, always wanted to open a clothing store, but the timing was never right. When Megan was at the age where she was planning what to do with the next phase of her life, the duo decided to take the plunge and open Besselli. Ever since, the pair, along with other family members, have worked together to make

upscale boho clothing accessible to the women of Green Bay, while also providing a unique shopping experience.

Megan believes that everyone who walks into the store is a new friend. Customers are greeted with a nice smile and a happy hello. The goal of Besselli’s staff is to have everyone that walks in leave happier and more uplifted than when they entered.

“Chatting and helping customers is the best part of the job. It doesn’t even feel like work,” Megan says.

The vintage and homey vibe that Besselli offers welcomes customers with the inviting scent of burning candles and warm lighting from pretty chandeliers.

It is unlike any other store in the area.

When you walk through the doors it is like being transported to a chic boutique that you would find in the nooks and crannies of Soho or downtown Chicago.

All of the clothing and accessories are hand-selected by the staff to maintain originality and present an array of attire to the customer.

Women living in small cities of rural states can have great style by shopping online, but there is something to be said about physically going into a store. You may try on pieces you never thought to try or strike up a conversation with a friendly stranger that shares similar taste.

By immersing yourself in the shopping experience at Besselli, you begin to embody the boho style and essence without even trying.

Besselli serves as a style sanctuary for women of all ages who share a love for boho fashion. A rare find in Wisconsin, Besselli excels as a one-of-a-kind boutique and is recognized by all as a store that values family and their customer.

“BESSELLI SERVES AS A STYLE SANCTUARY FOR WOMEN OF ALL AGES WHO SHARE A LOVE FOR BOHO FASHION.” 24 | FALL 2016

BY AMELIA FAIST, ARTS EDITORIAL ASSISTANT PHOTOGRAPHED BY MARISSA HAEGELE

K

nown for its simultaneous ambiguity and charm, film photography has withstood the test of time and emergence of new technology. The light leaks and water spots that come with a film camera add a certain appeal and character we try to reproduce in our VSCO and Instagram feeds today, lusting after the soft feel of a vintage photo.

of the subsequent chemical process also made printing much more accessible, giving way to the potential for commercial camera use and processing.

In 1889, Kodak began selling the first camera for recreational use. The shift toward recreational photography made it a more accessible art form, vital to the documentation of everyday life as it gained mainstream appreciation.

The concept of photography was around far before the technology we all know and love today, with artists effectively making photographs prior to the 16th century.1 The camera obscura, the first formal photography device, used a simple box structure and pinhole for light to pass through.2 It captured the attention of aspiring artists and audiences alike, prompting a concerted effort to advance the technology.

By the 1830s, Henry Fox Talbot successfully improved the technology by exposing silver particles to light, creating a negative inverted image. Light could then be projected through the negative onto photosensitive paper, creating consistent and pleasing results. The increasing uniformity and consolidation

Film photography was nearly eradicated by the popularization of digital photography. Digital cameras today have the capability to produce thousands of images at a relatively low cost. Requiring only a computer to process the images, rather than a darkroom stocked with a constant supply of equipment and chemicals, it is both more accessible and less expensive.

cameras, which is especially useful for large art prints, such as wallsized exhibits. It is also an excellent teaching tool as it forces students to understand the relationship between light and their photographs.

Many artists also choose film for the different “feel” of the photographs.

Photographs produced by black and white film feel vintage, classic and complex. Viewing of film photography requires a level of conscious critique that is not necessary for the mindless “liking” of photographs on Instagram and Facebook. A print allows for careful examination and appreciation of the art, highlighting the permanence of a photograph.

There is no backup copy, there is only a singular freeze frame of a memory in time.

Despite the rise in digital, film photography is still used today for artistic purposes.

Some large format cameras offer higher resolution than even today’s DSLR

Philip Greenspun, History of Photography Timeline, 2007, photo.net.

2 Tom O’Neill, Bravura Camera Obscura, 2011.

National Geographic.

1

26 | FALL 2016

“

“

THERE IS NO BACKUP COPY, THERE IS ONLY A SINGULAR FREEZE FRAME OF A MEMORY IN TIME.

ONCE THE FILM IS DEVELOPED, THE NEGATIVE IMAGES ARE PROJECTED ONTO PHOTOSENSITIVE PAPER, CREATING THE POSITIVE IMAGE SIMILAR TO WHAT THE HUMAN EYE SEES.

FILM IS PLACED IN A LIGHT-TIGHT CONTAINER AND PUT THROUGH A CHEMICAL PROCESS IN ORDER TO STOP THE DEVELOPMENT OF THE SILVER HALIDE THAT CREATES THE NEGATIVE IMAGES ON THE FILM.

FINALLY, THE PAPER IS PROCESSED IN A SIMILAR FASHION TO THE FILM, EFFECTIVELY STOPPING THE CHEMICAL REACTION WHEN EXPOSED TO LIGHT.

DON’T

DROWN:

THE DANGERS OF B I N G E - WAT C H I N G

BY LEAH VOSKUIL, LIFESTYLE EDITORIAL ASSISTANT MEDEA VALENTINO PHOTOGRAPHED BY ALEXANDRA FOLINO

Today I fell in and out of love, scored my dream job running an illegal brewery with my friends and solved a double homicide that I worked on for months. Forget only 24 hours in a day; I lived years before I even got out of bed, and chances are that you did, too.

Though it’s unknown just how many users are streaming online at any given point in time, Digital Company Statistics reported that over 42.5 billion hours were spent streaming Netflix content in 2015.1 Even more, Netflix’s most recent Letter to Shareholders stated that their memberships continue to rise consistently each quarter as they expand to an alarming 140 countries.2 It is incredibly clear that what was once known as a domestic DVD rental service has taken on a life of its own and has probably started to consume yours.

Emily, a 21-year-old Sociology major, is one of the few Millennials who remembers a time before Netflix offered streaming services catered to binge-watching tendencies. To put it in context, these were the days before Instagram, Spotify and President Obama. I know, it’s hard to imagine.

Originally drawn to Netflix in order to avoid taking weekly trips to Blockbuster with her family (remember those days?), this “fairly priced” service was exactly what Emily and her family were looking for. Little did she know that once she went off to college, Netflix would take Smith, Craig. “By the Numbers: 80 Amazing Netflix Statistics and Facts.”

DMR. 2 “Letter to Shareholders.” Netflix to Fellow Shareholders. July, 2016.

1

28 | FALL 2016

over. In an effort to escape the reality of her freshman year, Emily found herself struggling.3 “I would watch an average of 12-15 episodes a day. I don’t know if you’ve seen X-Files, but each episode is nearly 45 minutes long. You do the math—I was hooked.”

Although she still can be found binge-watching on a rainy day, Emily acknowledges that this dependency on fictional worlds can be incredibly dangerous—especially in her case. On one hand, Netflix has the ability to unite, inform and foster relationships with individuals and social causes. On the other, authentic engagement with others can be difficult when you find yourself watching an entire season from the comfort of your dimly lit bedroom for the fifth day in a row. In Emily’s case, she used Netflix as a tool to feed her depression and become almost entirely disengaged from the real world.4 As you unconsciously digest these fictional lives, your own reality begins to disintegrate, something which psychologist Raj Devasagayan believes is a major cause for concern.5 “Similar to the high a drug can provide, people try to recreate the feeling of happiness felt when bingeing on media. This feeling is commonly obsessed over, as people find “Emily on Netflix and Binge-Watching.”

E-mail interview by author. Sept. 2016.

4 Hallinan, Blake, and Ted Striphas.

“Recommended for You: The Netflix Prize and the Production of Algorithmic Culture.” New Media & Society 18.

5 Devasagayam, Raj, Dawn Edmiston, and Roscoe Hightower, Jr. “Media Bingeing: A Qualitative Study of Psychological Influences.” In Once Retro Now Novel Again, 2014.

3

themselves thinking about a show’s events during the day,” Devasagayan said. “This behavior also creates a mental reasoning that allows for continued bingeing behavior.”

“I often ask myself, ‘How much positive change could I make in this world if I was as passionate about people that really existed?’” Emily said.

Questioning what life would be like without Netflix, essentially another way of questioning twenty-first century media consumption and its impact on our social health and progression at large, is something that we should all be contemplating on a daily basis.6 In no way am I advocating for you to throw out your laptop, join a commune and never think about Stranger Things again. However, I am saying that submerging yourself in Netflix needs to be actively balanced.

By all means, hide out in your room under a pile of blankets with that dayold Thai food you’ve been dreaming about all afternoon—we all deserve a detox from human interaction here and there—but never forget that for every time you tell Netflix that yes, you are still watching Bob’s Burgers (for the third time this semester), you fall deeper and deeper into a fictional reality with real-world consequences.

Especially in the chaos of exams, work, roommate troubles, internships, clubs, relationships and more, here is your friendly reminder to take care of yourself. A walk around the Capitol will do more to clear your head than any episode of Property Brothers ever will.

Winland, Cassandra. “An Exploration of Binge-Watching and Its Effects on College Academics.”

6

FALL 2016 | 29

BY WAY O F

WISCONSIN When you’ve lived somewhere your whole life, it’s easy to take it for granted.

Nestled within rolling hills about 20 miles outside of Madison, Walnut Ridge Farm is a refreshing reminder of our state’s natural beauty. Armed with a few classic pieces from Wisconsin retailer Lands’ End and the help of some gentle beasts (two heelers and a herd of horses, to be exact), here’s Moda’s take on our Dairy State’s style.

FRANCIS CASTRO AND LILY ZWASKA PHOTOGRAPHED BY CLAIRE GRUMMON | CREATIVE DIRECTORS: KELSEY DAYKIN AND REILLY KOCH | CREATIVE TEAM: MIA BOULUKOS, BROOKE KOMAS, EVA-DELILAH WIELAND AND GEORDON WOLLNER | MAKEUP BY FRANCIS CASTRO | SUPPLEMENTARY IMAGERY COURTESY OF NITIN BHOSALE

WHITE TURTLENECK | LANDS’ END BLACK DRESS | ASOS KNEE HIGH BOOTS | FREE PEOPLE STRIPED DRESS | CANVAS BY LANDS’ END SCARF | H&M ANKLE BOOTS | LANDS’ END

COAT (RIGHT) | SCOOP NYC COLORED PONCHO | STYLIST’S OWN

COAT | J. CREW

COVERED IN INK:

EXPLORING AN ALTERNATIVE CANVAS

BY JENN CHEN, ARTS WRITER MARC NELSON PHOTOGRAPHED BY JENN CHEN When I first met Marc Nelson, he was finishing up with a client in Colt’s Timeless Tattoos, an inconspicuous tattoo shop right across from the behemoth that is the Hub. Marc is the manager and co-owner of Colt’s, with the beard, gauges and tattoos that just scream the stereotypical “I’m a tattoo artist.” However, there are some things you would never guess were hidden under the black Hurley hat: Marc is a family man, a physics nerd and, above all, a creative, personable guy. I got the chance to sit down and learn a little more about Marc and his experience as a Madison-based tattoo artist.

Moda Magazine: Tell me about how you became interested in tattooing professionally.

Marc Nelson: “It’s kind of a funny story how I got into tattooing; I was actually going to school up in La Crosse for physics/engineering. I’m kind of a nerd in that way. I love math and science but it just wasn’t doing it for me. I really wanted to do art. It’s always been one of my passions since I was a little kid. Being a realist, I knew I needed a job that could support me and potentially a family in the future. I was kind of at a loss. Sitting in my Optics class one day, it was actually my friend who suggested tattooing. I had

one tattoo at the time and I guess I never put two and two together, that I could make art and get paid for it.”

MM: How did you get to where you are now?

MN: “It’s kind of ridiculous, there are so many artists out there who dream of being a tattoo artist, and I stumbled onto it when I was almost 20. I didn’t even know how one became a tattoo artist-I Googled it and figured out it was all through an apprenticeship. The next day, I quit college. I made up my mind that I was gonna do this. I wandered downtown looking for an apprenticeship and was

super lucky to be in the right place, the right time; I [got] into the biggest shop up in La Crosse at the time, Mind Altering Tattoos, and I worked there for three years. I’ve always liked Madison [and] thought it was such a cool town. [After visiting my brother here five years ago], when we were leaving, I was like, ‘It’d be so cool to live here,’ and my wife said, ‘Why not?’”

MM: Do you feel copying another artist is a problem clients don’t realize when they bring in an exact photo of another tattoo?

MN: “A lot of people get it, but there’s definitely the people that don’t. Some people, you tell them that you can give them something similar but original, and they’re totally cool with it. Other people are like, ‘No, I want this exact thing.’ It’s like, well, alright. I usually still tweak it a little bit so it’s not exactly the same, but when it comes to the end of the day, a client is always the one who gets final say because it’s going on them forever.”

MM: Do you have any favorite tattoo styles or favorite artists?

MN: “I’m pretty diverse; if I had to specify, I really enjoy doing New School.

Lot of bright colors, heavy line weight differentiation… large stuff. I [also] do a lot of Mandala work and sacred geometry.

Being in the industry, and having access

TIMELESSTATTOOS.COM

“

MM: What do you personally believe about the art of tattooing?

MN: “It’s definitely an art form. I feel like it’s evolving more and more. Fifteen years ago, tattooing was pretty simple. There weren’t people pushing the boundaries as much. I’ve been tattooing for eight years, and I’ve seen so much change.

People are doing stuff now that we didn’t even think was possible ten years ago. A lot of that is due to Instagram and Facebook getting really popular. People are able to share what they did, and others are like, ‘Oh, I can do that.’ It’s pushing people to say, ‘That’s incredible, I need to step my game up.’ Now, there are so many incredible artists out there who are pushing the envelope further and further. It’s amazing.”

I GUESS I NEVER PUT TWO AND TWO TOGETHER, THAT I COULD MAKE ART AND GET PAID FOR IT...IT’S A COOL FEELING WHEN YOU’RE THAT EXCITED TO CREATE SOMETHING. YOU’RE COMPLETELY SUBMERGED IN THE IDEA.

“

MM: What is your own process in creating a tattoo?

MN: “It starts with the consult. Someone comes in and I get a feel for them a little bit. You figure out their idea, where they want it, rough size. I like them to send me [references] because I want to give them a tattoo they want.

Everyone has kind of an idea in their head. I like to try to get into their head as much as I can, or just by use of other pictures. I don’t necessarily like other tattoo pictures. You never want to do somebody else’s tattoo.”

to Facebook, Instagram and the Internet, you find the people that are doing a certain style really well. I like to follow a lot of New School guys who are just killing it. The guys that did both of my legs are [both] super awesome; Jason Stephan and Timmy B. Otherwise, Jee Sayalero’s composition with things is just incredible.

His usage of foreground and depth in his tattoos is super inspiring. His book is probably my biggest inspiration.”

MM: Our Fall print issue’s theme is Submerge; how do you feel you have submerged yourself into your work?

MN: “Realistically, I’m so submerged into not necessarily just my tattoos, but the tattoo world. I’m usually consumed by drawings; I constantly have so many I need to do. Sometimes you can just get in the zone when you’re drawing. It’s funny, you know, when you have a really awesome idea and you want to do nothing more than to just get it out of your head. Nothing else really matters. It’s a cool feeling when you’re that excited to create something.

You’re completely submerged in the idea.”

MARCNELSONTATTOOS.COM

MM: Any advice for those who would be interested in pursuing tattooing?

MN: “My advice would be to just keep drawing and try to get an apprenticeship somewhere. It’s probably not going to be as easy as it was for me, but just be persistent. A lot of stars need to align for it to work out. Definitely have your art game up [too]. It’s very competitive. When you’re drawing [with a pencil], you can get tiny detail, which is not super feasible with tattooing. But again, it really depends on your style. It’s kind of tricky. What I’m looking for when I bring on an apprentice… is that you have drive and artistic ability; I can teach you how to draw like a tattoo artist, but natural talent is always welcome. I always look for personable people too. Half of tattooing is that you’re selling yourself, and your art, but you can’t really get one without the other.”

MM: Is their anything else you would like our readers to know?

MN: “If anyone wants to come get tattooed, [come to Colt’s]. If anyone wants to get tattooed by me and they mention the interview, I’d be happy to give them a deal.”

@MARCNELSONART FALL 2016 | 39

“It’s a domino effect; once you start, you can’t get enough.”

BRANDY MELVILLE MODELED BY KAILA RUPPEL TOP AND CHOKER | BRANDY MELVILLE JACKET | THRIFTED BELT | MODEL’S OWN RING AND WATCH | MODEL’S OWN BOOTS | DSW JEANS | H&M

A Fashion Frenzy

BY KELSEY KNEPLER, FASHION NEWS CORRESPONDENT KAILA RUPPEL, SHELBY KAHR AND YUAN TAO PHOTOGRAPHED BY CAROLINE DANIELS

Why do some brands have massive cult followings? Die-hard fans of brands will sometimes completely submerge themselves head to toe only in one designer. People rush to get the new collections, fight for old pieces on eBay and even buy books about the brand’s designers in hopes of getting one step closer to their beloved brand. At what point does this fashion fandom turn into a crazed frenzy?

NASTY GAL

Sophia Amoruso has branded a badassmeets-vintage vibe in her clothing and beyond. The quirky quality in Amoruso’s clothes and personality have created an empire that its fans love and cannot get enough of. Fans of the brand flocked to her books Nasty Galaxy and #GIRLBOSS, the latter of which is soon to become a Netflix Original. Nasty Gal began as a business, but has become its own empire.

H&M

The Swedish fast-fashion retailer has managed to capture hearts worldwide. From their high-end fashion collaborations that go for triple their price on eBay, to their staple basics, H&M has the fashion industry covered at every

corner. Many celebrities also shop there as well, which indicates the quality and design the company is able to uphold, even at a lower price point. The brand’s elevated basics keep its customers constantly craving more.

BRANDY MELVILLE

Simple, girly and edgy are three key words behind this brand’s concept.

Brandy Melville does lookbooks on their website and posts images on their Instagram that are tailored to their audience. They display the cool Brandy girls getting ice cream on the boardwalk or going to a baseball game, building an entire lifestyle around the brand.

Brandy Melville creates a cool club that their fans love being a part of through their distinct yet simple clothing style.

High-end brands also often have cult followings, with fans constantly dishing out huge sums of money for the latest pieces. One example of a high-end, cult product is Vetements sweatshirts. They have become a status symbol of street style.

Burberry’s British-chic trench coats and plaid scarves are beloved classics,

H&M MODELED BY YUAN TAO BLOUSE AND SKIRT | H&M CHOKER AND EARRINGS | STYLENANDA BAG | CHANEL

making them another cult product.

You may not be able to tell a trench is Burberry until you can get a peek at the lining, but the quality and tradition of Burberry is what has earned this cult piece its standing as a classic for many years to come.

Unfortunately, there are some favorite cult brands that went from being on top to the bottom. Miss Me’s bedazzled jeans were all the rage in high school but now most wouldn’t be caught dead in them.

Same goes for Ed Hardy’s blinged-out, graphic tops, hats and jeans. With cult brands, it is important to make sure your product evolves to stay relevant or it will get left behind. One brand that is attempting this evolution is UGG. Known for their signature shearling boot, the Australian brand has added new styles that look completely separate from the original UGG style.

Cult brands don’t seek approval when forming their clear brand image and lifestyle. Fans connect with that image and want to be a part of what that brand represents. It’s a domino effect; once you start, you can’t get enough.

NASTY GAL MODELED BY SHELBY KAHR DRESS | NASTYGAL TIGHTS AND BOOTS | TARGET FALL 2016 | 41

ADAM DELMARCELLE HUFFINGTONPOST.COM ACT UP AD WORDPRESS.COM

"ALL ADDICTED" ZABOU.ME

ACTING

OUT THROUGH ART

BY MARGARET DUFFEY, ARTS EDITOR

Art crosses over to activism when it pushes beyond simply illustrating culture to critique its flaws and shortcomings.

Through various mediums and techniques, artists bring to light issues that entire communities try to ignore. Armed with untraditional weapons like spray paint canisters and cameras, artists place themselves on the frontlines of political conversations.

Stationed out of London but always on the move, spray paint artist Zabou produces thought-provoking murals around the world.1 This past August, Zabou was invited to paint the MUR, a French location that a new artist gets to paint every two weeks. For her MUR debut, Zabou produced “All Addicted” over the course of three days. The mural features an elderly man standing between a younger man and woman. All three are staring down at smartphones.

They appear completely attached to the cellular devices and uninterested in interacting with each other. Zabou produced a profound criticism of the digital world. She highlights its power to isolate individuals in social settings and dehumanize human interactions.

Society’s growing investment in digital relationships and avoidance of human 1

“ZABOU.” ZABOU. zabou.me

contact is a modern issue that demands attention and Zabou is using her art to direct our attention to it.

Gran Fury, a late 1980s art collective, functioned as the unofficial advertisement agency for ACT UP.2 Aiming to spread awareness about the AIDS epidemic and discount stereotypes associated with the disease, the art collective produced a wide range of eye-catching images with controversial messages. To discourage society from only associating the disease with homosexual men, the collective printed messages like “White Heterosexual Men Can’t Get AIDS… DON’T BANK ON IT” on fake dollar bills and threw them onto the New York Stock Exchange floor.

Gran Fury’s powerful words highlight a widespread misunderstanding of the disease that was silencing those affected by it. Plastered on billboards and buses across New York City, the message “Kissing Doesn’t Kill: Greed and Indifference Do” forced Americans to reflect on the issue and how they were contributing to it in 1990. Three images of couples kissing - one heterosexual, one gay and one lesbian - were featured Bushak, By Lecia. “The Legacy of ‘80s Art Collective Gran Fury Is Now Part of History, but the Work Remains as Furious as Ever.” Politico PRO. 2016.

below the text to intensify the strong message. Gran Fury’s widespread influence during the AIDS epidemic played an integral role in decreasing stigma and increasing conversation about the disease.

Similar to Gran Fury’s effort to inform the public about AIDS, Adam DelMarcelle is taking to the streets but for a different epidemic: heroin.3 Frustrated that his small Pennsylvania town, Lebanon, is doing little to address overdose deaths, DelMarcelle called attention to the issue in September. Across the town he scattered pieces of satirical artwork that put a heroin focused twist on some of the small town’s traditions. Colorful birds and Dutch folk art references are seen next to corpses. “Greetings from Lebanon, PA!” is featured on a postcard-like piece while Narcan, a drug capable of reversing heroin overdoses, is spilling out of soda cans into the mouths of two men. The art was removed in accordance with a city law that doesn’t allow people to post signs or posters. The efforts of DelMarcelle to raise awareness about the heroin epidemic are necessary to create a conversation about the issue in his community.

2

Fritz, Katherine. “Pennsylvania Artist Tackles Heroin Epidemic, Despite Police Intervention.” The Huffington Post. , 2016. huffingtonpost.com.

3

COME AWAY TO THE WATER:

AN EXPLORATION OF MERMAIDS AND CONSTRUCTS OF VICTORIAN WOMANHOOD IN 19TH CENTURY EUROPE AND AMERICA

BY HALEY NIPPERT, CULTURE EDITOR CLAIRE VANVALKENBURG PHOTOGRAPHED BY CAMERON SMITH MAKEUP BY HALEY NIPPERT

M

ermaids have captured the imagination of humans for centuries. From their earliest recorded appearances as the Babylonian god Oannes1 to more recent portrayals in films like Pirates of the Caribbean: On Stranger Tides, these monstrous creatures operate within a system of dualities: not quite human and not quite fish, highly sexualized beings yet marking acceptable sexual behaviors, the promise of seduction at the cost of the victim’s life. This duality is not without consequence and nowhere is this more apparent than in the art and literature of 19th century America and Britain. Weaving their way through the writings of W.B. Yeats and Herman Melville and into the paintings of John William Waterhouse and Edward Burne-Jones, mermaids not only come to represent the monstrosity The Greenwood Encyclopedia of Folktales and Fairy Tales: Volume 2: G-P, United States: Greenwood Publishing Group, 2007. s.v “Mermaid” by Shawn C Jarvis 1

of female sexual transgression but also demarcate and reinforce the boundaries of acceptable female behavior.

The beginnings of mythology centering around mermaids as lures of men actually begins with the sirens of Homer’s Odyssey. According to Ovid, the sirens were human women transformed into half-bird creatures by the Greek gods so that they might search for Demeter’s daughter, Persephone, who had been taken by Hades.2 Within the context of The Odyssey, these sirens entice men with song, causing sailors to direct their ships into the rocks, resulting in their deaths.3 Odysseus himself actually begs to be released from where he is bound to the ship’s mast as he passes the sirens’ island with his crew so that he might go Ovid and D. Raeburn, The Metamorphoses: A New Verse Translation, London: Penguin Group, USA. 2003.

3 Homer, The Essential Odyssey, ed. Stanley Lombardo (Indianapolis: Hackett Publishing Co., 2007).

2

to the them. The story of Odysseus and the sirens ties the seductive nature of sirens to the death of men and a hero’s near downfall, effectively presenting female sexuality as potentially monstrous in nature.

During the medieval period, the halfbird sirens became conflated with halffish mermaids. According to Dr. Linda Phyllis Austern, an associate professor at Northwestern University, “it [was] not until the Liber monstorum of the early eighth century… that sirens [were] given fishtails in writing.”4 Because of this, mermaids took on the sirens’ magical singing voices, and many medieval bestiaries began describing the mermaid as a “sea beast wonderly shapen, and draweth shipmen to peril by sweetness of song.”5 Linda Austern, Music of the Sirens, ed. Inna Naroditskaya, Indiana University Press. 2006.

5 Robert Steele, Mediaeval Lore from Bartholomew Anglicus, Boston, MA, 2003. IndyPublish.com.

4

The threatening nature of mermaids would continue to permeate literature and art well into the 19th and early 20th centuries. W.B. Yeats, in his Fairy and Folk Tales of the Irish Peasantry (1888), describes the Irish mermaid, or merrow, writing that “fishermen do not like to see them, for it always means coming gales.”6 Herman Melville’s Moby Dick, first published in 1851, describes a scene in which members of Captain Ahab’s crew hear cries “plaintively wild and unearthly,” which they ascribe to mermaids. This omen comes to fruition when the man taking over first watch tumbles overboard to his death.7 The mermaid as a symbol in both literature and art, however, came to occupy a much larger role during the Victorian Era (roughly 1837 to 1901), acting as a critique of femininity and female sexual agency.

Mermaids have long been associated with two objects: the comb and mirror.8 On their own, these objects symbolize vanity or narcissism, giving users the means to groom and admire themselves.

This behavior was in direct opposition to the ideals imposed upon Victorian womanhood. During the Victorian Era, the “True Woman” followed four cardinal virtues: piety, purity, submissiveness and domesticity.9 She was “passionless,” meaning her pursuits didn’t lie in the virile, bodily avenues of men, creating the image of a sexually pure domestic goddess within the middle and upper classes of white Victorian society. Her highly regulated domestic space focused primarily on maintaining both home and children, engaging with ideologies which limited her potential as a political agent and individual, such as the creation of “separate” domestic and political spheres, which relegated women to the home.

These values, and in particular the focus on religious piety, crafted the image of a woman who behaved not out of selfinterest, but for the best interest of those around her, specifically the men in her life.

The commentary implicitly suggested in paintings featuring female mermaids – like John William Waterhouse’s A Mermaid (1901) which features a mermaid combing out her hair – therefore becomes specific to female behaviors. The mermaid, a monstrous woman of the deep, consumed by her own image, becomes a warning sign to all women of the age, discouraging self-absorption and reinforcing the ideals of the cult of true womanhood.

W B Yeats, Fairy and Folk Tales of the Irish Peasantry, 1888. London.

7 Herman Melville, Moby-Dick, Or, the Whale, ed. Renker and Buckley, New York. 2013. New Amer Library Classics.

8 The Greenwood Encyclopedia of Folktales and Fairy Tales: Volume 2: G-P, United States. 2007. Greenwood Publishing Group.

9 Greene, Christina. “The Cult of True Womanhood.”

The University of Wisconsin-Madison. 2016.

6

From another angle, mermaids also suggest the monstrosity of female sexual expression. At a basic level, the mermaid is a creature that has the potential to seduce men to their deaths, and they are often portrayed as female. Female sexuality, in the form of the mermaid, becomes inherently tied to a dangerous threat against male life and autonomy. This idea took on new life in the years after the French and American revolutions leading into the Victorian Era. Jean-Jacques Rousseau’s Emile, published in 1762, was an influential text both in terms of establishing the notions of gender difference which would define the 1800s and revealing the deep-seated fear of women attaining social and political power: “Women so easily stir a man’s senses… that if philosophy ever succeeded in introducing this custom into

“MY HEART IS PIERCED

BY CUPID, I DISDAIN ALL GLITTERING GOLD, THERE IS NOTHING THAT CAN CONSOLE ME BUT MY JOLLY SAILOR BOLD.” “JOLLY SAILOR BOLD” A SEA SHANTY any unlucky country… the men, tyrannised over by the women… would be dragged to their death without the least chance of escape.”10 Samuel Ruskin, in Sesame and Lilies (1865), suggests a similar argument when he states that “the woman’s power is for rule, not for battle,—and her intellect is not for invention or creation, but for sweet ordering, arrangement, and decision.”11 The power of women over men, both emotionally and sexually, as well as women’s nature, according to Rousseau and Ruskin, was enough to justify women’s exclusion from political spheres. So like the men in mythology who were seduced into the depths by sexually charged mermaids, Victorian Era men feared being “dragged to their death” by women exerting sexual or political agency.

This progression of fear at losing control over women’s sexual expression comes to a head in the paintings of Edward BurneJones. As University of Wisconsin-Madison and Moda Alum, Brontë Mansfield notes in her thesis, Chasing Tail: Mermaids as Emblems of Unfulfilled Desire in the Long Nineteenth Century, Burne-Jones’ paintings “speak to a larger cultural concern with the shifting position of women in the late Jean-Jacques Rousseau, Emile. United States: Kessinger Publishing Co. 2004.

11 John Ruskin, Sesame and Lilies, NY, United States.

Echo Library. 2007.

10

nineteenth century.”12 Burne-Jones, in The Mermaid Family (1878) and The Mermaid (1882), depicts mermaids as mother figures, holding and otherwise interacting with their children. In many ways, these portrayals actually echo Victorian values of motherhood, reinforcing the image of motherhood as the ideal avenue for women. By 1886, however, Burne-Jones has subscribed to the image of the mermaid as a seducer of men, painting The Depths of the Sea, which depicts a female mermaid dragging an unconscious male into the depths.13 As Mansfield notes, this shift paralleled the changes in gender taking place over the 19th century as women transformed “from the ‘angel of the house,’ a loving Victorian wife and mother, into the New Woman,” who represented female independence, education and feminism: all challenges to patriarchal systems of power.14 Instead of the “passionlessness” of the ideal Victorian woman, these women were charged with energy and sought existence outside the home. Burne-Jones not only upholds mothers as the paragon of womanhood, but also makes monsters of the women who do not conform, presenting them as sexual deviants and threats to male authority.

Not all mermaid myths and stories had such a negative take. W.B. Yeats in his Folk Tales recalls merrows choosing to live with human men on shore.15 Hans Christian Andersen in The Little Mermaid (1837) takes on Christian overtones, portraying a young mermaid willing to give up her life in the sea in the pursuit of an immortal soul, ultimately sacrificing herself for the happiness of the prince and achieving a pathway to Christian salvation.16 Despite the story’s origins in Denmark, which was not impacted by the Victorian Era, Andersen presents a mermaid living out the ideals of Victorian womanhood and in many ways shows how these values existed across European geography. Mermaids in 19th century European and American art and literature therefore not only functioned as critiques of transgressive female behavior and sexuality, but guarded the borders of acceptable behavior for women of all kinds.

From their teetering existence between the human world and that of the sea to their dual roles as mothers and seductresses, mermaids policed the boundaries between the acceptable and the monstrous, marking the very thin line walked by women of the Victorian Era. Brontë Mansfield, “Chasing Tail: Mermaids as Emblems of Unfulfilled Desire in the Long Nineteenth Century,” Archive: An Undergraduate Journal of History 17, May 2014.

13 Ibid.

14 Ibid.

15 W B Yeats, Fairy and Folk Tales of the Irish Peasantry. London: W. Scott. 1888.

16 Hans Christian Andersen, The Stories of Hans Christian Andersen, ed. D.C Frank and J. Frank. London: Granta Books. 2005.

12

COSMOPOLITAN.COM

CERULEAN

BY ALEXA CARLSON, FASHION EDITOR

I

f you’re a fan of fashion, you’ve most likely watched The Devil Wears Prada not once, but countless times. This year marks the film’s 10th anniversary.

Based on a young assistant’s experience working at Vogue with Anna Wintour, The Devil Wears Prada became an instant cult classic. The wardrobe design, done

by Patricia Field, was flawless, earning an Oscar nomination, an honor generally awarded to painstakingly detailed period films. Aside from the dazzling visuals, Meryl Streep’s character, Runway magazine’s Editor-in-Chief Miranda Priestly, was fiercely entrancing and taught us a thing or two about the fashion industry.

knit sweater was in fact “not just blue... not turquoise...not lapis, [but] actually cerulean.” Priestly then goes on to explain that the hue of Andy’s sweater was derived from a popular collection of cerulean gowns by Oscar de la Renta which made it’s way into other designer collections, then into department stores and finally into a clearance bin at the former chain store, Casual Corner, where the editor snidely suggests the sweater is from. Priestly laughs at how the rookie assistant believes that taking fashion seriously is trivial, when in fact it is a billion dollar industry that influences the clothing Andy puts on her very own back.

One of Streep’s standout moments in the film was her “cerulean monologue,” occurring just moments after Andy, Priestly’s assistant, played by Anne Hathaway, snickers at the fact her coworker stressed the tough decision between two near-identical belts and proceeded to call the overflowing racks of designer garments “stuff.” Streep’s character saunters into her monologue explaining how Andy’s “lumpy” cable

The importance of the cerulean monologue is that it reminds us that however outlandish runway shows or fashion editorials may get, they do influence what we wear every day.

Some may be quick to roll their eyes or dismiss you if you tell them that you’re interested in fashion, but fashion isn’t just fluff. Sure, it’s not brain surgery or rocket science. Yet, its importance is reaffirmed throughout the film as an important facet

of self-identity and even as an escape from reality. Stanley Tucci’s character in the film, Nigel, who takes Andy under his well-dressed wing, claims that what designers create is even greater than art because we physically live our lives in it.

Fashion is a powerful force. It has the ability to change your mood, bring back memories and define your personality with no words at all. Acting like you have zero preference in what you wear and waving away fashion as a shallow or pointless industry is a bold move. Even if you don’t know Chanel from Dior, you no doubt have that one item in your closet that you always reach for because, whether you admit it or not, it is perfectly your style and expresses who you are. That just goes to show how good the fashion industry is at what it does; it creates items for us to live our lives in without having to think twice about their design. As the late, great street style photographer Bill Cunningham said, “Fashion is the armour to survive the reality of everyday life. I don’t think you could do away with it. It would be like doing away with civilization.”

W

hile it is relatively common knowledge that video games can cause desensitization, research findings that show they may also enhance memory and strengthen color differentiation are rarely associated with them.

Despite the negative stigma associated with video game usage, several studies have found that it can help improve brain function. A University of Rochester study discovered eyesight improvement among people who played action-based video games.1 According to the study, playing video games may improve one’s contrast sensitivity function, which “allows people to discern even subtle changes in shades of gray against a uniformly colored backdrop.”2 With heightened contrast sensitivity function, players are better able to track multiple objects at once and pay attention to fast events.

Not only does eye function improve with use of action-based video games, but overall brain function can increase as well. In a study by the Max Planck Institute for Human Development, 23 adults played Super Mario 64 on a portable Nintendo XXL console for 30 minutes a day over a two month period, while a control group played no video games.3 The scientists involved found that those who played video games had an increase in the gray matter of their brain, particularly in areas associated with spatial orientation and memory formation.4 Another study, from the University of Padua, shows other benefits associated with the increase in gray matter. In particular, the research showed that action-based video games Handwork, Brian. “Video Games Improve Vision, Study Says.” National Geographic. 2009. news.

2 Ibid.

3 “Video Game Playing Found Beneficial for the Brain.” 2013. kurzweilai.net.

4 Ibid.

1

GAMING GAINS:

INTO AN ALTERNATIVE REALITY

BY SARAH FRIEDLAND, ARTS WRITER PHOTOGRAPHED BY VICTORIA LEE

can improve reading comprehension in those with dyslexia.5 This study involved two groups of children ages seven through thirteen. One group played a fast-paced game, while the other played a less active game.

Those who played the fast-paced game developed faster reading and comprehension skills than those who didn’t.6 All of these benefits come at a price, though. Despite the increase in contrast sensitivity function, video games may also harm the eyes. Described as “carpal tunnel for your eyes,” video games may result in computer vision syndrome from looking at a screen for too long.7 The syndrome can cause blurred vision, double vision and dry eyes. Additionally, the blue light of screens can cause problems with sleeping, especially if video games are played at night.8 Not only may you wake up tired because of video games, but you may also wake up sore. Video game players tend to lean in toward the screen, bending the neck, slouching the back and bowing the shoulders.9 While the poor posture can cause persistent pain, players often struggle to stop playing to alleviate it because of video games’ addictive nature. Video games “give immediate rewards for learning,” contributing to their addictive properties. Many players are in their 20s or younger, a period of time when the brain is still developing and is highly susceptible to addiction.10 Isaacson, Betsy. “Video Games May Improve Reading Skills In Children With Dyslexia: Study.” The Huffington Post. 2013.

6 Ibid.

7 Knapp, Mark. “How Video Games Are Bad for You and 5 Ways to Fix That.” The Cheat Sheet. 2016.

8, 9, 10 Ibid.

Vi d e o game usage is also linked to poor decision-making skills and a lack of empathy. A Child Mind Institute study discovered a correlation between aggressive behavior and video game playing by observing more than 3,000 children, ages eight through seventeen, for two years. The children, 70 percent of which were male, self-reported their usage and behaviors. Many of the children noticed that their thoughts and actions were more aggressive when they played video games more often.11 An Iowa State University study supports the Institute’s findings. Focused on more than 200 Pennsylvania juvenile delinquents, who had an average of nine offenses each, the study found that “frequency of play and affinity for violent games were strongly associated with delinquent and violent behavior.”12While video games are not the ultimate cause for aggressive behavior, they certainly are a risk factor.

As with most things, video games have both advantages and disadvantages. The health benefits are certainly impressive and may have the ability to assist in recovery from eye surgeries, or help those with cognitive impairments in the future.

However, the stress put on the body and mind by interacting with games can take a toll on one’s disposition. It is up to you to decide if the benefits of video games outweigh the risks.

5

“Video Game Violence Linked to Bad Behavior, Study Says.” CBSNews. 2014.

12 “Violent Video Games Are a Risk Factor for Criminal Behavior and Aggression, New Evidence Shows.”

ScienceDaily. 2013.

11

Tub Talk

BY BRIANA LERNER, LIFESTYLE STAFF WRITER PHOTOGRAPHED BY MEG ROTTER

A

t this point in the semester, there are so many things to juggle: exams, papers, presentations, jobs, internships and more. It seems that there is never enough time to just relax. If you are #blessed enough to have a tub in your apartment/house, taking a bath is a wonderful way to relax. With so many obligations adding to your busy schedule, it is necessary to take time to indulge yourself, even if it’s for only an hour a day.

Scheduling this “me” time may sound selfish at first, but mental health benefits make taking this time for yourself totally necessary. Focusing solely on your many responsibilities is draining and makes recharging extremely important.

Before starting your bath, make sure your roommates give you some peace and quiet; being interrupted every five minutes can kill the relaxation vibe. Run the water to a

48 | FALL 2016

comfortable temperature and light your favorite candle. Consider a eucalyptus or spearmint scent for an especially relaxing experience.

The perfect playlist can also add to the quality of your relaxation. Scroll through Spotify or Apple Music for a chill selection. Music can make all the difference between boredom and relaxation.

After choosing some songs, be sure to unplug from your phone and laptop. This time is for you, not for being constantly connected.

Putting your phone on airplane mode reduces temptation to check your notifications, and believe it or not, your messages will still be there an hour later. Try not to text, email or do anything else that takes away from your alone time. The goal of this time is to separate from the rest of the world and just focus on unwinding.

Adding a soothing bath treatment will be your next step. There are so many natural and commercial options to choose from. A great natural treatment is green tea, which does wonders for your body, both inside and out. Use about six tea bags; let it steep and soak in

all the benefits. If you are looking for moisturization, another enjoyable natural treatment is finely-blended oatmeal. Adding this to your bath helps with dry, problematic skin. Consider drawing a milk and honey bath for another natural option, the preference of Cleopatra herself. To do this, add a few tablespoons of honey and powdered milk for the silkiest bath.

These natural ingredients are simple and convenient, easily found in your kitchen or at the grocery store.

Commercial treatments are another great alternative. Lush is famous for their fun and inventive bath treatments, especially their endless selection of bath bombs.

The dozens of products each have their own unique scent and effects, allowing you to choose one that fits your personal preferences. The products are fun and entertaining, but potentially a bit messy. Be wary of the clean-up they may require before making your purchase. If Lush is not your thing, check out Philosophy’s range of simpler bath treatments, such as their Pure Grace Foaming Gel. Laura Mercier also has a lovely range of bath treatments, like the Almond Coconut Honey Bath, which comes with its own cute honey wand. If none of these options are in budget, Bath and Body Works’ bubble baths are just as enjoyable.

Taking time to disconnect from the world around you and its obligations can do wonders for your mental health. Just sit, soak and let your worries dissolve away with your bath bomb. Amongst your busy schedule, do not forget to indulge yourself, even if only for an hour, without constant noise and distractions. You deserve it.

THE FEATURE

MR. WEST: A DESIGNER,

OR AN ARTIST?

BY KELSEY WILKERSON, MEN’S WRITER, TEXTILES & FASHION DESIGN STUDENT AT SOHE

K

anye West is undoubtedly among the greatest artists of all time, and he would be the first to tell you that, if his album Yeezus is any indication.

Recently, though, he’s gained notoriety for his fashion lines. However, West’s place in the realm of fashion is not as uncommon as you’d think; music and fashion have a huge influence on each other. Although he’s a renowned producer, his fashion lines have been met with an equal amount of praise and criticism, with critics deeming him

“not a real designer.” While that question might come down to a matter of opinion, there’s no doubt that his influence has been felt across the fashion world and his creative presence has had a tangible, profound and often polarizing effect.

West brought a new perspective (and increased sales) to major brands, with Ralph Lauren, Louis Vuitton, Fendi and A Bathing Ape all benefiting from his style and music. Within the past ten years, Kanye

has spent an especially great deal of time investing in his personal fashion career and brand. Between moving to Rome and interning at Fendi for four months, attempting many times to jump-start his own clothing lines (Pastelle, Dw by Kanye West, and G.O.O.D) and collaborating with A.P.C., Nike and Adidas, he seems to have finally hit his mainstream fashion stride with his Yeezy line. Even though this might indicate his status as a designer, he is continuously defensive of those in

Indeed, Kanye West’s background is deeply rooted in his artistic values. In his short stint in academia, he attended an elementary school for the arts and spent a year studying painting at Chicago’s Academy of Art. Due to his enormous success as an artist and musician, it is easy to forget West attended college, but after deciding college wasn’t for him, he created the magnificent album The College Dropout in early 2004. During the release of West’s debut album, his keen interest in fashion was evident. His mother, Donda West, notes he “poured the same kind of energy that he put into his art and music into putting outfits together and dressing well.” As an up-and-coming, highly paid artist, West was now able to attain higherend clothing and accessories to assemble next-level looks. This new beginning led to a trend and style West is infamous for: the timeless combination of a Louis Vuitton knapsack and a Ralph Lauren pink polo.

West’s line, “and it ain’t no Ralph, though… it ain’t Ralph level,” takes on new meaning.

Despite adopting a strong personal style from day one in the music industry’s spotlight, West is always learning how to merge his artistic vision with commercial know-how. Even his tours are constantly evolving and changing; his most recent “Saint Pablo” tour ditches the traditional concert setup for a suspended stage above the audience. Similarly, in fashion, West wants to expand our sense of what fashion can entail. It’s a transition and evolution that’s been hard to swallow for some. Yet, in every transitional period of an art movement, what is real art and not real art is discussed, with the emerging movement being labeled as the latter.

Dadaism, for example, was met with much backlash initially. It emerged on the scene to question artistic norms and function as a protest by rejecting the purpose of crafting aesthetically pleasing objects and instead emphasizing the role of the artist and the purpose of the artwork, while rattling bourgeoisie sensibilities.

Much of how Dada defines itself and how it disrupted the art world is how Kanye performs in today’s fashion world.

Runway shows reveal bright and elegant colors for the spring, and Kanye opposes by creating garments to pair with skin and earth tone colors.

In this sense, Kanye is undeniably a visionary and the choice to not follow color trend fashion reports or popular apparel items helps authenticate his own vision of fashion. He’s a tour-deforce. Even so, every fashion designer

has a creative and production team to execute a fashion show. One of his most important influences is Vanessa Beecroft, an Italian artist known for controversial performances staging women barely clothed in monochromatic nude arrangements or naked models in body paint live. West is a fan of Beecroft’s catalogue of work, and it seems the controversial aspect of her performances intrigues and draws him in, as Kanye finds himself often headlining in controversy.

However, ever since the tragic loss of his mother in 2007, West has since been more reserved. He no longer flaunts and brands himself with labels and materialistic items for identity.

The collaboration between West and Beecroft is informed by emotions, societal rebuttals and creativity.

Beecroft’s influences on the Yeezy brand include unusual designs and minimalist style, which resonates with West’s new aura. Models are styled as if from poverty stricken communities and are staged standing motionless in various militarylike formations, wearing the clothes with dignity and pride. West approves of the “Beecroftian arrangement” because it helps contextualize and serve his current agenda to stop bullying underprivileged individuals and to strip people’s minds of acquiring luxury brands or possessions as status symbols. Most importantly, the arrangement emphasizes self-love.

The two artists are trying to make the audience realize the societal norms imposed on women. Women are judged by what shoes they wear, what makeup they apply and how their hair is styled.

Contrary to popular belief, the women in the Yeezy shows are not dressed to exploit their bodies, but to significantly explore women’s personal struggles and spiritual yearning. “There is no clothing that can represent her without being ridiculed,” Beecroft explains.1 Larocca, Amy. “The Bodies Artist.” New York Magazine.

1

West has always seen the importance and value of everyone being able to experience a beautiful life. His belief was ingrained in him by his family. His mother was a professor at Morris Brown College and Chicago State University, while his father, Ray West, was a Black Panther and medical illustrator. Most recently, his dad moved into a homeless shelter to get more acquainted with ex-drug addicts to help them recover.

Inspired by his parents’ efforts to assist and educate people, West utilizes his platform and creativity to express his vision and ideals both vocally and visually. Currently, fashion is where West is indulging in creativity and expression.

In West and Beecroft’s approach to the Yeezy Season collection, there is an apparent triumphant evolution between each season, revealing the constant improvement of humans' situation and expression. The different locations of the shows are significant to that evolution: Seasons 1 and 2 featured the traditional runway show setting, while Madison Square Garden (West’s longtime home for tours) was the setting for Season 3.

Finally, Season 4 took place at Franklin D. Roosevelt Four Freedoms Park for maximum exposure. The look of the clothing, too, exhibits this evolution, becoming more desirable and ready-towear, further aligning with the ideals of West and Beecroft: Prosperity, growth, self-love and appreciation.

Kanye West is the best catalyst for this message because he has always thrived on the negative energy and criticism from his detractors. Whether it’s people telling him he can’t be a rapper or telling him he can’t design clothes, he’s used to hearing what he can’t do and responding with what he can. While the debate is still open as to whether he will last in the industry, there’s no doubt he has successfully infiltrated the field and has proven his passion, commitment and worthiness to belong.

“

WHETHER IT’S PEOPLE TELLING HIM HE CAN’T BE A RAPPER OR TELLING HIM HE CAN’T DESIGN CLOTHES, HE’S USED TO HEARING WHAT HE CAN’T DO AND RESPONDING WITH WHAT HE CAN.

“

the fashion world who say otherwise.

But while his foray into fashion might not have the most commercial success, the art he draws inspiration from and strives to create deserves at least some attention.

MASTER OF ARTS IN NEW ARTS JOURNALISM

The Master of Arts in New Arts Journalism program prepares students for the multitasking demands of contemporary cultural journalism, where text and image are intertwined and journalists are often the initial writers, designers, and editors of their work.

Students construct reviews, essays, interviews and feature stories, and examine the contexts of investigative reporting, the opinion piece, documentary, and critical essay. They design websites and blogs, and examine how web communication, print, photography, and video design principles impact journalism today.

Students participate in at least one internship and write a concluding thesis that may take the form of a publication, zine, investigative piece, an extended narrative, or original research.

APPLY BY FEBRUARY 1 saic.edu/gradapp GRADUATE ADMISSIONS 800.232.7242 | 312.629.6100 gradmiss@saic.edu

Meet, Eat & Retreat A rooftop perch with local, homegrown eats, craft cocktails and brews.

Graduate Madison | 601 Langdon Street | 7th Floor | Madison, WI Follow us on