MUSE Magazine Issue XXII

ISSUE XXII

If I had to choose one word to describe MUSE this past year, it would be innovative. From virtual shoots, to creating our first online issue, to launching an app, we have pushed the boundaries of what a student publication can be. I feel so proud to have watched our publication grow and change in so many ways over the past year and am in awe of the incredible team that made it happen. Amid stay-at-home orders, Zoom fatigue, and the challenges of online classes, our team has risen to the occasion and given MUSE their all and for that I am so grateful.

With all the changes going on around us and the many sacrifices we have all made, I hope you can find some solace in holding a copy of MUSE in your hands – either for the first time in a year or the first time ever.

Innovation is important and our digital world is ever-expanding, but the feeling of holding something solid is one thing that we will never be able to replicate on a screen.

Hug your copy to your chest, read it in the bathtub, display it on your bookcase.

I remember how special it felt the first time I held a copy of MUSE with my name in it – I feel just as honoured today. Thank you to everyone who has made my past four years with this publication so incredible; the memories I have with you shine the brightest of any that I made at Queen’s. I am sad to be saying goodbye, but after flipping through this issue, I think you will agree that MUSE is in excellent hands.

Best of luck to next year’s team and all those that come after them. I can’t wait to see what you create.

Yours Creatively,

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Anna McAlpine EDITOR IN CHIEF

TAB LE OF

contents ENTERTAINMENT

ARTS 9

Where Creativity Meets Organization: An Ode to the Bullet Journal

10

Bringing Heritage Back to Life

12

What’s the Buzz?

30

Hunters and Holocaust Depictions: An Analysis

32

Threads of Crime

MUSE’INGS 36

My Mother Gave Me an Eating Disorder

38

Seeing Double?

Think Again: A Twin’s Testament to Individuality

40

Faking It

FASHION 16

Threads of Crime

18

The Resurgence of the Corset

LIFESTYLE 22

On Being Difficult

24

Just Not My Type

26

Changing the Script

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MUSE MAGAZINE

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CREATIVE DIRECTOR BEN EVANS-DURÁN PHOTOGRAPHER OLIVIA WRIGHT MAKEUP AND HAIR ADAM OAKNINE MODEL VERA VERTEGAAL

ARTS

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MUSE MAGAZINE

ISSUE XXII

ec

meets

Let’s face it: life gets busy, and it’s hard to keep track of everything. From assignment due dates to scheduling time with friends, it sometimes seems impossible to keep everything straight.

Due to busy schedules, many people turn to electronic or paper planners – although this can feel like an impersonal chore. How can you make organization an individualized, creative endeavour?

The answer is quite simple: bullet journaling.

Ryder Carrol first introduced bullet journaling in 2012. The original process included a specific notation style, with different symbols, or “bullets,” each representing various tasks that needed to be completed. Not long after Carroll introduced this planning method, the artistic community started to create their own versions, which they shared online. Some members of the “bujo” community have millions of followers who await their weekly “spreads,” or journal layouts. The community stresses that anyone can bullet journal, whether you simply list tasks without adornment or create elaborately designed pages. The beauty of the bullet journal is that it can be anything you need (or want) it to be.

I first began bullet journaling in 2017, when I discovered Instagram accounts and YouTube channels dedicated to this method of organization. I was in awe of the breathtaking yet practical art before my eyes. Although I am not artistically talented and cannot draw a straight line, even with a ruler, I bought an empty notebook and tried to emulate what I saw online. I was drawn

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AN ODE TO THE BULLET JOURNAL

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BY VICTORIA BOWEN

to the idea of building a planner from scratch, especially as someone who plans excessively as a coping mechanism for an anxiety disorder. I quickly became frustrated when I could not produce what I saw online, and I retreated to my “normal” planner.

During the pandemic, I returned to bullet journaling with a vengeance. With so much extra time on my hands and so many unknowns about the future floating in the air, I found solace in painstakingly drawing calendars and watching tutorials. I have revelled in buying special pens, and I find nothing more exciting than ordering stickers from small businesses and having them arrive in the mail. I even have two separate bullet journals this year: an “everyday” journal and a reading journal. These two notebooks are filled with love and doodles, customized to fit my needs. Once they are finished, they will be tucked away only to be pulled out in later years, as a snapshot of times gone by.

My journals may not be perfect, but I find nothing more satisfying than sitting down to spend time working on them. Through bullet journaling, I have learned that artistic practices do not have to be large, elaborate events. You do not need to be extraordinarily talented to find escape in the act of creating something. Bullet journaling has allowed me to experiment with making every day a little less mundane and a little more beautiful.

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arts

MUSE MAGAZINE

Bringing Heritage Back to Life

BY MADDI ANDREWS

“Despite their relentless crimes, extremists will never be able to erase history, nor silence the memory of this site that embodies the unity and identity of the Syrian people.”

– Director-General of UNESCO Irina Bokova

Our world is becoming increasingly digital. This fact has become even clearer amidst the global pandemic, where we attend meetings, classes, and appointments entirely online. It is no surprise that digital tools are being used globally to preserve our cultural heritage sites. There have been advances in three-dimensional modelling and printing that present new opportunities for cultural heritage preservation, both in the virtual and physical world.

Today, many technologies offer unique possibilities to reconstruct heritage sites accurately. Some efforts to document heritage sites utilize drones with laser scanners, which are able to quickly scan vast expanses of land. Afterwards, researchers transform the collected data into dynamic and life-like three-dimensional models. Iconem, a French startup founded in 2013, has popularized this type of work. Their team travels the globe, digitizing vulnerable heritage sites, such as Angkor Wat in Cambodia, to ensure they are protected for future generations.

Alternatively,photogrammetry is an exciting new technology used for modelling.This technique requires high-resolution photographs of a monument, with significant overlaps between each image from every angle possible.

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ISSUE XXII

These photographs are then digitally connected to create a three-dimensional version.

Consequently, cultural heritage sites, whether vulnerable to war damage or natural disasters, have the potential to exist digitally. This potential would not have been possible a decade ago and demonstrates the intellect, creativity, and innovation of humankind.

The Great Mosque of Aleppo in Syria validates the importance of digital tools for the preservation of monuments.

For millennia, Aleppo witnessed immense cultural exchange, as it is situated at a crossroads between trade routes. Aleppo passed between the Hittites, Assyrians, Arabs, Mongols, Mamelukes, and Ottomans. This rich diversity was reflected in the Great Mosque of Aleppo, which was constructed under both Shia and Turkic Sunni rulers, and contained inscriptions in multiple languages. The minaret, constructed in 1090, towered above Aleppo for nearly one thousand years and became an emblem within the city’s physical landscape.

In April 2013, the minaret of the Great Mosque of Aleppo was reduced to rubble, becoming another casualty in the ongoing Syrian Civil War. This multi-sided conflict, which began in 2011, has lasted over nine years. Many estimates believe that 400,000 lives have been lost, with over five million

people displaced. Although this conflict has produced a significant cultural loss, this destruction does not outweigh the loss of human life and ongoing humanitarian crisis.

Hope is not lost for the Great Mosque of Aleppo. Although wiped from the physical landscape, the minaret was virtually reconstructed using imaging technologies. Thankfully, previous research efforts, including a photogrammetry expedition led by Professor Gabriele Fangi, had thoroughly documented the Great Mosque of Aleppo, which resulted in detailed three-dimensional models. The people of Aleppo have decided to rebuild the Mosque. Efforts to reconstruct the minaret and repair other damage began in February 2018. The documentation efforts provided more detailed, accurate virtual reconstructions, which have proven invaluable for physical reconstruction efforts.

To many Aleppo citizens, the Great Mosque was the heart of the city, part of their history, culture, and religion. This sentiment is reflected in accounts of people visiting the destroyed minaret, people who wept and collectively mourned for its loss. For nearly a millennium, the minaret called Muslims across Aleppo to worship five times each day, where they shared cultural practices and fostered community. Without these reconstruction efforts, the Great Mosque of Aleppo

would have been lost forever, existing only in our memories.

For the people of Aleppo, the reconstruction of the minaret is most significant as it represents the enduring strength of their culture and its ability to survive conflict.

Ultimately, digital tools can prolong our cultural heritage’s life expectancy, and in some cases, even bring sites back to life. Should damage occur, these virtual models are invaluable tools for reconstruction efforts, providing vital information for conservators and architects. Still, there is an even greater significance when documenting heritage: increasing access. Digitally reconstructing monuments inevitably means more people will appreciate and learn about new cultures. Many museums and galleries have begun digitizing their collections, making them accessible to the greater public, especially with the COVID-19 pandemic preventing direct access. I have personally toured the Musée d’Orsay and the Rijksmuseum, all from the comfort of my couch. The same must occur for monuments and heritage sites. Here I am, joining the chorus of voices advocating for more documentation of monuments around the world. We all deserve access to cultural heritage, something that has the power to bring people together, despite our differences.

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arts

MUSE MAGAZINE

By Maddi Andrews

WHAT’S THE BUZZ?

I first plunged into the therapeutic arts during my fourth year, when I interned at the Agnes Etherington Art Centre. My project involved researching how museums could provide spaces for wellness and support the local community. Shortly into my research, I stumbled upon Art Hives.

Given the new global climate, self-care has never been a more vital pillar of health and wellness.

For some people, baking cookies reduces stress. For others, playing video games leaves them feeling rejuvenated. For me, creativity offers solace and relaxation. Whenever I am feeling anxious, I grab my watercolour paints and collage supplies, hoping to get lost in the vibrant world of colour and design. I always knew that artmaking could transform my mood and alleviate tension, but I also discovered that creativity could offer something entirely different.

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What’s the buzz about Art Hives? Art Hives are community-based art studios. They are safe spaces where people gather to create, engage in conversation, and foster a sense of community. They pride themselves in offering an environment not only for artmaking, but for positive mental health practices. There are countless advantages of creativity for wellness, and an entire professional field – art therapy – has developed around the benefits of artmaking. Cathy Malchiodi, a leading expert in the healing arts, defines art therapy as “the application of the visual arts and the creative process within a therapeutic relationship, to support, maintain, and improve the psychosocial, physical, cognitive and spiritual health of individuals of all ages.

It is based on current and emerging research that art making is a health-enhancing practice that positively impacts the quality of life.”

ISSUE XXII

Art Hives do not strictly engage in the therapeutic arts, but instead offer an “art as therapy” approach; they embody the idea that artmaking is innately therapeutic, and will lead to stress reduction, increase confidence, allow for self-expression, and aim to resolve personal issues.

I wanted to join this growing movement I had read so much about, and yet, Kingston did not have any Art Hives. This was something that I vowed to change. Several weeks later, I was helping prepare for the launch of our first local Art Hive.

Art Hive @Agnes opened in January 2019, and it is still going today! Every Thursday, we meet (virtually now, but normally in-person) for two hours of creativity and conversation. There are weekly thematic projects, which our art therapist and facilitator demonstrates, but attendees are also encouraged to independently discover their creativity. The projects differ each week, from exploring how we present ourselves to the world and creating Picasso-style portraits, to mindfully meditating while drawing zentangles.

You might think that we attract people who are naturally gifted artists, but this is not the case.

You do not have to be a talented or experienced artist to participate in Art Hive @Agnes. We have hosted students from all disciplines, including Engineering and Law, but also senior citizens and new immigrants. We value process over product; the act of creating is more important than what your artwork looks like. A recent study by the American Art Therapy Association showed that just 45 minutes of creating art can significantly reduce cortisol levels – the hormone attributed with anxiety and stress. This study involved regular people, meaning that anyone can benefit

from artmaking, not just art professionals. I think this approach is remarkable – all artworks are “works in progress,” just as we are as people.

Without a doubt, I can say that Art Hive @Agnes is the highlight of my week. There is something truly special about witnessing transformation – people who do not consider themselves remotely artistic, completely unwinding and becoming absorbed in a project. I have seen how artmaking can bring people together and spark connections that would not have existed otherwise. Art Hive @Agnes helps me devote much-needed time for creativity and relaxation into my busy schedule. I am allowed to pause for a moment and focus on my artistic process and the people around me. I am grateful to the Agnes Etherington Art Centre for bringing Art Hives into my life. I have become immersed within a wonderful community of artistic, imaginative people.

For those of you looking for a creative community, consider this your invitation to join us. Whether I see you at our next Art Hive @ Agnes, or you attend one of the other 200+ Art Hives worldwide, you will see how people can build relationships through art. This is where you will find me – painting, colouring, and collaging my way into a happier and healthier future.

To register or learn more about Art Hive @Agnes, visit the Agnes Etherington Art Centre website.

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CREATIVE DIRECTOR MAYA GINZBURG PHOTOGRAPHER OLIVIA WRIGHT MAKEUP SUCCESS FIANU

Flora

CREATIVE ASSISTANT BEN EVANS-DURÁN MODEL RIDA CHAUDHRY

FASHION

MUSE MAGAZINE

BY JULIA RANNEY

PHOTOGRAPHY: SARAH REESE

THREADS OF CRIME THREADS OF CRIME THREADS OF CRIME On August 14th, 1996, Karen Wetterhahn, a Chemistry Professor at Dartmouth College, spilled a drop of mercury onto her lab glove.

On June 8th, 1997, she was dead. As Wetterhahn believed that her gloves would protect her from the toxic substance’s effects, she did not remove them. Yet, the poisonous compound seeped through her glove and entered her bloodstream in a matter of seconds. Six 16

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months later, Wetterhahn could not walk, see, or talk. Despite rigorous treatment to remove the poison, she slipped into a five-month coma before her death. An autopsy indicated that her blood contained twenty-two times the amount of mercury typically found in the human body. Wetterhahn’s untimely death resulted from the glove that failed to protect her from the lethal toxin.

While this tragedy occurred in a controlled lab environment, it is a reminder that humans rely on clothing for protection. Clothes cover and comfort us, yet these seemingly harmless garments have been the cause of death and disease throughout history. In the 1800s, dresses and hair ornaments were dyed using green pigment made from copper and arsenic, highly toxic substances that have caused illness and death. In the nineteenth-century, bobbinet, tulle, and gauze were used to fashion evening gowns and ballet costumes; these garments caught fire from gas or stage lighting and incinerated the wearer. In early modern India, khilats, Arabic for “robes of honour,” were presented as gifts. It was common for the giver to poison or contaminate the robe with a disease, ultimately killing or infecting the garment’s receiver.

or difficult situation.” Over time, the spelling changed from ‘clew’ to ‘clue,’ establishing the origin of clues in the English language.

Forensic knowledge of clothing can also help solve crimes rather than commit them. To the fictional detective Sherlock Holmes, a ripped hat or a stained sleeve could prove a suspect’s guilt or innocence. Today, television shows depict criminologists and forensic scientists convicting offenders or identifying victims from footprints, fibres, or bloodstained garbs.

Clothing and accessories can be essential clues in criminal cases, proving fashion has vital connections to seemingly unrelated fields, including criminology. This rejects the stereotype that fashion is frivolous, feminine, and trivial.

The FBI has made use of fashion forensics since the early 2000s. Dr. Richard Vorder Bruegge of the FBI’s Special Photographic Unit used worn denim jeans to identify bank robbers. Utilizing surveillance film, Bruegge demonstrated that individual pairs of jeans found in the convict’s homes have unique identifying characteristics (ridges and valleys in the denim fabric), which are created in the manufacturing process and enhanced by wear.

In forensic environments, these characteristics can be matched to CCTV footage to sentence criminals.

Additionally, the word ‘clue’ derives from mythology and textile history. A ‘clew,’ or a ball of thread was used in the Ariadne, Theseus, and the Minotaur myth. In this legend, Ariadne, the King of Athens’ daughter, gives Theseus, an Athenian hero, a clew during his quest to kill the Minotaur living in the labyrinth.

Theseus ties one end of the thread to the maze entrance and, after successfully killing the monster, follows the line back out to safety. A second definition of ‘clew’ was born, “something that guides a person out of a mysterious

Today, clues from pieces of clothing have become important bits of evidence in official police investigations. In Surrey, England, fashion historian and forensic garment analyst Amber Butchart identifies murder victims by dating the clothes they were found in and analyzes fibres, rips, and bloodstains to catch perpetrators. She has been training police officers and detectives in what to look for at crime scenes from a fashion perspective and how to record this information correctly. Specifically, recognizing certain types of fastenings, labels, and fabrics that can be essential when dating and identifying garments, manufacturers, criminals, and victims.

Previously, forensic science has been solely concerned with DNA. When we are preoccupied with that focus, we miss the opportunity to look at other important factors, including material culture. Clearly, clothing and accessories play a complex yet central role as murder weapons and protection, forensic evidence, participants in solving crimes, and as identifying villains in the present-day.

Detectives are not typically known for their fashion sense, so now it is time to call the fashion police.

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FASHION

MUSE MAGAZINE

The Resurgence of the Corset

By Thalia Anobile

Once regarded as an instrument of oppression and compliance, the corset has resurged, yet again, in the last year as both an aesthetic garment and a tool of sexual and social empowerment. While the invention of the corset traces back to the Middle Ages, this garment became an emblem of female submission and sexualization as early as the 16th century. The corset branded an unnatural, tiny waist as the most beautiful body shape, rendering any other silhouette as undesirable. Although the corset was marketed as a device to support good posture and preserve a woman’s health, it unsurprisingly caused health issues, especially in the process of attaining this desired body.

With each passing decade, the shape of the corset evolved to accentuate different features of the female body, often contorting the waist and breasts. The commonality is that the female body was deformed in inhumane, torturous ways in order to please the male gaze. The bodice was constructed with stiff materials including whalebone to cinch the waist into an inverted cone and cloth to cover 18

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the boning; other materials included wood, steel and leather.

A device to confine and control women, the corset was more than a way to sexualize women but a way to further distinguish women of lower and higher social ranking. Considering that corsets were handmade, it is understandable that only certain women could afford to purchase a corset. Although the social implications of this garment remained fairly consistent throughout history, the corset reached its peak during the Victorian Era. The corset was modified during this century so that women were able to do their own corsets up themselves and while this was seen as a win for some women, others began a movement soon known as the Victorian Dress Reform to emancipate the waist. Middle-class women began speaking out against the irrational societal dress code that was imposed on them, proposing that women’s fashion become more progressive and practical. This movement of reform desired fashion and society to accept the natural female figure and even suggested another type

of bodice that would function the same as a corset, accentuating a woman’s silhouette, without doing harm. It was after the Victorian Era that the corset began to lose its popularity and status within society.

The corset has now evolved from a symbol of the patriarchy regulating the female body to a symbol of sexual and social empowerment. As the cottage-core and boudoir aesthetic has recently re-emerged, celebrities and fashion designers took the once fetishized garment and transformed it into an instrument of feminism, a physical embodiment of power and femininity. Whether an individual chooses to wear a corset to reshape their figure or to exhibit their body, it is in their hands to choose. The corset now is a garment that exists for anyone and everyone to wear, not belonging to one social class and framing the body to one particular body type, having found its place as both an under and outer garment. The corset no longer holds oppressive power; what a corset does and conveys is now in the hands of the beholder.

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MADISON AVENUE

CREATIVE DIRECTOR CHANEL ROMEO PHOTOGRAPHER LISBET MACLEAN MAKEUP ABBY OCOCHINSKI CREATIVE ASSISTANT BEN EVANS-DURÁN MODELS BRUNO CHAN & CHLOE FILBEY

ISSUE XXII

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LIFESTYLE

MUSE MAGAZINE

ON BEING “DIFFICULT”

BY FIONA MEESON

PHOTOGRAPHER KIERAN TURNBULL

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I

n a moment of exasperation, someone I love once said to me, “Fiona, can you stop being difficult for literally five minutes?”

Maybe they were tired, or drunk and didn’t really mean it, but the word “difficult” has haunted me ever since.

In fairness, I was being difficult. I was having a fit over something insignificant. It was mortifying to realize that the people who cared about me thought I was a total pain. For years I had been desperately trying to appear chill, easygoing, or low-maintenance. In the immortal words of Gone Girl’s Amy Dunne, I wanted to be a “cool girl.”

I’ve not yet been called a “cool girl.” Instead, I’ve learned that I’m difficult. If you want to be kind about it, I’m high-strung. Others might say I’m a nervous wreck. I’m foolishly stubborn, I have a hair-trigger temper, and I’m incapable of forgiving people who’ve wronged me. When my heart breaks, I don’t try to get over it; I want to lie in the street outside my ex’s house and throw a temper tantrum. I want to wear a T-shirt announcing my juvenile agony to the entire world. Sometimes, I wonder if I was born already holding grudges. I’m obsessed with the idea that I’m a bad person, that I need to identify all my awful traits and destroy them.

MAYBE I’M NOT THE EASIEST TO LOVE OR LIVE WITH, BUT HONESTLY, IS ANYONE?

If you Google “difficult person,” a test comes up. It’ll give you a percentage to show how difficult you are (I got a 54.29%, if you’re curious). Other search results: lists of ways to cope with difficult partners, how to deal with difficult people in the workplace, how to spot symptoms of difficulty within yourself, and how to obliterate them. It’s always someone else who’s the problem; you never want to be that person. But what does “difficult” really mean? How do we use the word? Who do we perceive to be “difficult?”

Too often, women - particularly women of colour and women who are queer, disabled, or dealing with mental illness - are labeled “difficult” when they’re genuinely struggling, or simply speaking their mind. It’s a way of silencing us, of minimizing our pain. People who’ve preached the importance of sound mental health have abandoned me when I’m physically sick from anxiety or barely able to leave my bed.

I’ve been called a “bitch,” a “cunt,” and other things I can’t repeat by men who grope me at clubs or scream at me from their cars, because I have the audacity to tell them to fuck off. I don’t want to self-victimize, but I’m tired of having my feelings invalidated because they’re painful or make other people uncomfortable.

I’m tired of being dismissed as difficult. I don’t think I’m alone in that, either.

But so what if I’m difficult? I can definitely work on being kinder and more considerate to the people in my life, but I can’t overhaul my whole personality. While I wouldn’t say being difficult is inherently emancipatory, I understand now that what makes me difficult is what keeps me true to myself. Maybe I’m not the easiest to love or live with, but honestly, is anyone?

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lifestyle

MUSE MAGAZINE

Just Not My Type

By Ashanthi Francis

I’d never describe myself as someone’s “type.” This observation isn’t grounded by my perception of my own attractiveness. It’s also not some weird, selfdeprecating ploy for compliments. I simply believe that no one would describe me as their ideal physical partner.

This seems like a trivial thought. As someone who is well-versed in feminist perspectives, publicly admitting that I am concerned if people find me attractive is embarrassing. I’ve taken enough gender studies courses and have read enough #selflove captions on Instagram to understand that beauty is a social construct. I am not obligated to be beautiful, nor do I owe my appearance to anyone. Sure, dating might be more difficult, but attractiveness is superficial. This is why we are constantly reassured that it’s what’s on the inside that’s important, and that physical attractiveness is irrelevant compared to other facets of our identity. I understand the purpose of giving 24

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advice like this - I just wish it were true.

Ultimately, the questions of who we want to date, and whether people want to date us, subconsciously impact the trajectory of our lives. There will always be an element of subjectivity associated with our preferences, however, desire is political. We cannot pretend that our barometers of attractiveness are not influenced by our understanding of society. If the world is constantly telling us that we need to be skinnier, prettier, whiter, or more palatable, it’s foolish to assume that our dating preferences are untouched by these standards.

ISSUE XXII

Desire is a form of currency in our lives.

It not only determines who we date, but who we are friends with, who we are associated with, and who we want to be seen with. For those who are unable to live up to cultural expectations of attractiveness, the consequences are serious. Desire is the elixir that dictates how we treat one another. It influences our decisions to start conversations with strangers, or say ‘thank you’ when someone holds open the door. It impacts how hirable we are, the opportunities we’re given, and the ease with which we’re able to move through life.

When we consider someone as an ideal dating candidate, we are affirming their worth.

Still, it’s difficult to say whether the idea of having a “type” is inherently problematic.

In many cases we cannot control who we find attractive. Issues only begin when our dating preferences become a method of stratification. Matters of opinion creep into the normalization of things like racism, fatphobia, and transphobia under the guise of “types.” It’s okay to “like who you like,” but, it’s crucial that we think about our “types,” and the ways in which these desires might manifest in the future. Preferences are not developed in isolation - they are inspired by our beliefs, perceptions, and most importantly, our personal politics. We must hold ourselves accountable for these preferences and recognize that our beauty ideals often come at the stake of another’s well-being. If we continue to believe that beauty is a product of personal taste, we overlook the ways we subconsciously categorize, disadvantage, and oppress others. Desire has little to do with feelings

and more to do with a culture obsessed with exclusive definitions of beauty. Dating preferences may be a matter of opinion, but they are also powerful mechanisms that alienate those who fall outside of our range of appeal. We cannot control who we like, but we can control who we give a chance.

I would love to tell you an inspirational story about how I’ve learned to stop caring about whether or not people want to date me. That I radiate self-confidence, and refuse to let others’ desires impact how I live my life. Sadly, this story doesn’t exist. It’s impossible to eliminate the significance of preference in our lives. As someone whose identity is constantly at odds with society’s ever-changing ideas of beauty, I will always be hyper-aware of how others perceive me. Yet, I look forward to a time when I will not question others’ interest in me, and will feel confident in my It’s impossible to predict appeal when this will happen, beyond a but I know change begins fetish or internally. fantasy.

Though we may not have control over how others see us, we can take charge of how we see ourselves. You can surround yourself with people that make you feel good. You can support media outlets that champion alternative forms of beauty.

Most importantly, you can teach yourself to believe that you are worthy of desire no matter what you look like. It’s not a perfect solution, and it’s certainly not a sustainable one, but it’s a necessary tool for surviving a culture that prospers by devaluing those of us who do not fit in.

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ANONYMOUS

CHANGING THE SCRIPT

CONTENT WARNING: THIS ARTICLE DISCUSSES SEXUAL ASSAULT AND ABUSE AND MAY NOT BE SUITABLE FOR ALL READERS.

How the end of my abusive relationship has helped me change my internal narrative.

Your first love is an experience that you hold with you forever, it’s a time when you explore a different side of yourself and find out who and what best compliments you. Everything is easy because everything is new and exciting. I remember being so invested in every part of his life, cheering on his every move. I loved it. I loved not being alone and finally having that consistency in my life that I always craved but never had.

My parents divorced at a young age, so I was always back and forth between houses, leading different lives and acting differently to appease each household. I never really had a solid friend group, so overall I felt disconnected from everyone around me I felt like I was alone with my thoughts and with nobody who truly understood me - until he came along.

We dated from grade 11 to right before my first year of university, and then again from the summer before third year until last April, when I gave him a second chance. I have never met someone that made me laugh like he did. I don’t know how else to describe it other than feeling whole. I was missing that person that got me; he understood my imperfections along with the qualities that made me shine. I was so sheltered, and he was so bold and charming. He brought me out of my shell that I had built throughout my teens. Plus, we would finish each-other’s’ sentences, it was that kind of friendship love that everyone craves, or at least I thought it was. Every part of my day, good or bad, he was there for. I was reserved and really anxious, but when I was with him I felt more free to be myself – at least in the beginning.

I knew we had issues in high school, I knew we fought a lot and that he had a temper, but when he re-entered my life asking for a second chance, I truly believed that he had changed. It was great.

I was really fragile coming out of a relationship I had during second year and he was something familiar. He was even patient with me as I worked through my emotions. I thought I did all the right things, and I was very clear with him that if he were to go back to the same toxic behaviours he demonstrated in high school,I would walk away.

I set my boundaries. He followed through on

that, but that didn’t stop him from expressing his temper; he just became more clever about it.

I’m only now able to see that his showers of love and affection were always followed with fits of rage, where he would feed into my deepest insecurities and the ghosts of my past. Like a steady wave of highs and lows, he opened me up, dissected me, and left me to deal with the aftermath. He got into my head and erased the small shred of existing confidence that I had. I had been so intensely criticized for everything I did that these toxic thoughts had grown out of the relationship and onto myself. I took them with me when I left him.

It has taken me ten months to get to this point.

This point where I am finally able to regain control over my thoughts, and look at this situation with a semi-clear mind. I’ve been trying to write out my thoughts since the relationship ended, but I just couldn’t. I think that it’s because, in order to write about it, I have to acknowledge that I experienced a level of abuse and that what I experienced is not normal.

I had to stop acting like it was okay, and had to work on changing this negative narrative in my head that he controlled. I recently learned about the concept of scripting, when certain narratives that we have constructed in our minds can affect our current reality. There were key moments within the relationship where I was controlled, and my perception of myself was influenced.

These moments impacted how I perceived myself and how I acted in situations after the relationship had ended. Ultimately, three main experiences weigh the most on me: being made to feel like an object, abusive behaviours, and infidelity.

Identifying these moments is what is helping me with my healing process. By realizing which scripts he controlled in my head, I am slowly able to rewrite them and regain my sense of self.

To read the longer version of this article, scan this QR code.

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CREATIVE ASSISTANT BEN EVANS-DURÁN MODEL KINDRA MACKENZIE

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KINDRA

CREATIVE DIRECTOR SIMON CRÊTE PHOTOGRAPHER ERICA GIUSTINIANI MAKEUP AND HAIR ADAM OAKNINE 29

ENTERTAINMENT

MUSE MAGAZINE

By Isobel Gibson

HUNTERS AND HOLOCAUST DEPICTIONS: AN ANALYSIS CONTENT WARNING: THIS ARTICLE DISCUSSES THE HOLOCAUST AND MAY NOT BE SUITABLE FOR ALL READERS. Two and a half years ago I went to the Auschwitz-Birkenau Museum. It was moving, and utterly disgusting. The most striking aspect of the entire day spent learning about the Holocaust and Auschwitz was a glass display filled with human hair. It is difficult to express the profundity of this particular part of the exhibit; giant swathes of human hair, some braided, others stuck in a tangled knot, sit in silence as a marker for those who were murdered.

The reason why I talk of this specific instance of the physical remains of the Holocaust, and learning about it, is to highlight the sheer horror involved.

Significantly, the Holocaust is a horror that is still a lived experience – tears slowly rolled down the cheeks of my classmates who recognized family names among the records displayed in the Museum.

So, how do we, as a society, approach depicting the Holocaust? The 2020 television show 30

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Hunters, produced by Amazon Prime, has raised significant questions regarding the ethicality of portraying the Holocaust, and especially taking certain artistic liberties to do so. Hunters is based on an unlikely team of vigilantes coming together in 1970’s New York City to hunt down and kill former Nazis. The television show also portrays direct accounts of the Holocaust through flashbacks. These scenes are highly disturbing, and a strong part of the plot features Nazi’s forcing prisoners to play a game of human chess, which ultimately results in death and is, of course, a form of mental torture. Notably, Hunters does not claim to be documentary, but rather inspired by true events, including Operation Paperclip, as well as what the horrific reality was of being a victim or survivor of the Holocaust. This is where the controversy lies.

By fictionalizing experiences of the Holocaust, such as the existence of the human chess game, several significant risks are taken. First, it has been said by the Auschwitz-Birkenau Museum that the sensationalizing and fictive nature

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of Hunters’ portrayal is “disrespectful and dangerous.” A more biting response, that I encourage everyone to read, was provided by Stephen Smith, the director of the USC Shoah Foundation in the Jewish Journal. Smith states: This statement by Smith aptly reminds fans of the show that the complexities of depicting the Holocaust are unique and require great consideration. Depicting the Holocaust is so precarious, not only due to it being relatively recent and there being survivors in addition to ongoing, compounding, generational trauma, but also because there is a dangerous percent of the population, who are obviously anti-Semitic, who simply do not believe the Holocaust happened. Additionally, Hunters conflates the identity of the victim and the abuser. By having Holocaust survivors and their loved ones exact the torture they experienced on to the Nazis, in the name of retributive justice, does that make the horror and violence of the show easier to digest?

“I fear the pernicious blending of fact and fiction risks being weaponized by Holocaust deniers.”

In lieu of the criticism Hunters swiftly and abundantly received, the series creator David Weil responded, which I personally believe was very thoughtful and illuminating, although not necessarily exonerating. Weil begins the statement by stating how affecting his own visit to the Auschwitz camp was, particularly as his grandmother was a survivor of the Holocaust and of Auschwitz. The most pertinent piece of Weil’s statements is this: “In speaking to the “chess match” scene specifically… this is a fictionalized event.Why did I feel this scene was important to script and place in series / to most powerfully counteract the revisionist narrative that whitewashes Nazi perpetration, by showcasing the most extreme – and representationally truthful – sadism and violence that the Nazis perpetrated against the Jews and other victims. And why did I feel the need to create a fictional event when there were so many real horrors that existed? After all, it is true that Nazis perpetrated widespread and extreme acts of sadism and torture - and even incidents of cruel “games” – against their victims. I simply did not want to depict those specific, real acts of trauma.”

Hunters has received numerous Award nominations and been renewed for a second season, and it is set to be released sometime in 2021; certainly, the need for examination, sensitivity, and reflection should continue given the questions that the show raises.

Depicting the Holocaust is complex not only as a historical event of particular atrocity and evil, but also as a living phenomenon that continues to have major impacts today.

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ENTERTAINMENT

MUSE MAGAZINE

Being Middle Eastern is weird because a lot of the time, when a character is “Middle Eastern” they’ll simply cast an actor with brown hair and brown eyes and give them an ethnic-sounding name (see: Zosia Mamet in The Flight Attendant), or they’re a hard-working immigrant model minority, or they’re explicitly a terrorist, or an arms dealer, or a warlord, or someone who refuses to conform to the strict laws of the Geneva Conventions.

P e o p l e have long lamented the unfortunate stereotypes M i d d l e Easter n people get saddled with in the media.

In trying to dismantle this ongoing narrative, a handful of shows and films have gone out of their way to prove that the Middle Eastern characters they portray don’t fit into the prescribed boxes Hollywood and society expects of us: look, I can prove to you that I’m in fact, not a terrorist. But rarely do we see individuals of Middle Eastern descent portrayed outside of

the didactic storylines aimed at demonstrating that the showrunner isn’t racist, rather than seeing these characters navigate problems unencumbered by prejudice. Instead, we’ve become accustomed to seeing characters tackling the traumas of racism. In the few instances where this isn’t the case, where characters’ ethnicity is denoted merely by a non-white sounding name or vague ambiguity achieved by too much spray tan, the actual cultural nuances that would typically govern someone’s behaviour are lost altogether. It isn’t that their culture is an afterthought to the characters’ g r o w i n g problems, but rather that it isn’t a thought at all.

ngt’s mis hi

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so m e t

ome s g n i t s

g in

’s mis g n s hi

Yes, I find that many Middle Eastern people and I share similar experiences that transcend cultural specificities, but these similarities aren’t the ones being portrayed on screen. There’s an absence of of truth and understanding, and it doesn’t seem like anyone’s interested in remedying this. I think that this bothered me at a baseline level, nagging gently,

ISSUE XXII

but until

didn’t frustrate me enough I watched Ramy last Fall.

I can’t identify myself without Europe being my frame of reference. I was recently watching I Hate Suzie, a show written and created by white Ramy, created by and starring Ramy Youssef, women, and twice in an episode Leila Farzad’s follows the everyday life of the Hassans, an character, Naomi, mentions that she’s hairy, once Egyptian Muslim family living in New even while hooking up with someone. Not Jersey, predominantly following even in an intimate moment, where Ramy as he tries over and over we’re supposed to be rooting for again to become a better Naomi for having good sex, is person. The characters we she free from her insecurities get to know intimately – insecurities, mind you, look like my relatives, my that are intrinsically friends, the people I see at stereotypical and rooted in

BY ALEXA the community centre. For the fear of not being “white MARGORIAN the first time – and I hate enough.” Apart from stating that it’s the first – I’ve seen that she’s Iranian, this is a part of my life accurately the only acknowledgement reflected on screen. The of her ethnicity. way we interact with family, what we expect from each For the longest time, we’ve other, our friendships, our cultural been painted with the exact same preconceptions and our expressions brush, as though the vast region that we are the same. Although we don’t share the same come from only shapes people from a singular religion, I’d never felt the same jolt of recognition mold. The world Ramy depicts is ultra-specific watching anything in my life. It filled me with joy. to Egyptian Muslims, but I did see fractions of myself in it just the same. Although the What I found so important about the show is that show primarily concerns itself with accurately it doesn’t explain itself to its viewers. Its aim isn’t portraying Muslim people on TV for truly one to give a crash course to an unknowing audience, of the first times in history, I did see parts of my but rather for the uninitiated to be welcomed. experience refracted through the lens of the show.

This is something rarely afforded to ethnic people on television, and I can think of only a handful It’s not just about including Middle Eastern of recent examples that don’t compromise its people or Muslim people so that showrunners own vision to explain itself to white people; can check a box and demonstrate that they do Insecure and Jane the Virgin, to name two. see that ethnic, non-Christian people exist, but rather emphasizing accurate portrayals Since watching Ramy, my joy has made space of what we’ve actually experienced. You can for other emotions, mostly anger and distaste. actively combat a stereotype without directly I don’t even like referring to myself as “Middle speaking to your audience, without explicitly Eastern” because it relies on Western-centric explaining to them why stereotypes are bad. ideologies dictating geography and begs the If you let us exist on screen as we exist in real question: East of what? I get frustrated because life, you won’t have to explain anything at all.

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MUSE MAGAZINE

OLIVIA

CREATIVE DIRECTOR BRIANNA HORTON PHOTOGRAPHER BIANCA NAIM MAKEUP & HAIR LAUREN THOMPSON CREATIVE ASSISTANT BEN EVANS-DURÁN MODEL OLIVIA GAGNON

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MUSE MAGAZINE

My Mother Gave Me An Eating Disorder BY: DANIELLA ATKINSON PHOTOS: SARAH REESE CONTENT WARNING: THIS ARTICLE DISCUSSES EATING DISORDERS, AND MAY NOT BE SUITABLE FOR ALL READERS.

It wasn’t until I moved out of my family home and into my

independent life as a student that I realized I had grown up in a food toxic household. At home, I was taught a lifestyle that, now looking back, can be seen as disordered, obsessive, and restrictive. My family loves food, but when and how we indulge in it has strict rules and regulations I wish I wasn’t taught.

For as long as I can remember, I have lived with the idea that eating breakfast, lunch, and dinner is an overindulgent way of living. Although considered healthy and necessary for a sustainable lifestyle, the thought of three-square meals a day in my household is considered “so North American.”

Can I blame this disordered way of thinking on growing up in a European household? Or did my mother’s own issues with food lead me to adopt the eating disorder that I now struggle with? My mother weighed less than me when I was just 15-years-old, and I was constantly reminded of that by my family, which led to mental health issues and resentment towards them. I never knew that the food behaviours I was being taught from my mum, and hearing the things she used to say to me, would lead to the daily battle and eating disorder that I now live with.

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ISSUE XXII

Over one million Canadians have been diagnosed with an eating disorder, yet, millions of people go through the majority of their childhood and early adulthood undiagnosed. Beauty standards from social media have a huge impact on many young people, but having those standards be created by and forced upon you by your own mother leads to a different painful experience.

We are raised to respect the decisions and lessons made by and taught by our family, and if you are used to seeing their daily interaction with food, it is hard to know if what you are seeing is healthy and normal. At school during lunchtime, I’d watch my friends with jealousy as they ate their big lunch, while all I had was a simple granola bar after not having breakfast. In my house, eating a big lunch ends with a comment like, “so you won’t be having dinner then?”. By the time I’d come home from school, I would be starving, but it’s hard to eat when you see your mum going about her day only drinking a Red Bull or Diet Pepsi. Although I would be envious of how everyone else was

allowed to eat so much in the first half of their day, I often kept it to myself and remembered what my mum looked like. I was under the impression that if I ate the way that she was teaching me to eat, I would one day look like her.

Fast forward to my second year in university, when I moved out on my own and lived with people who grew up in different households than I did. Although a shock to the system, I was forced to eventually stop my judgment on their eating habits, which I viewed as overindulgent and completely foreign. As I continued to live around this new way of eating, I struggled with wanting to eat more, and wanting to eat the way my mother did. This internal battle led to my eating disorder. I decided to take to the Internet to search for my own eating habits and found myself going down a rabbit hole, looking into restrictive 1000 calorie diets, 3-day fasts, and Keto. Two years of restrictive eating led to rapid weight loss and increased health issues. I was losing clumps of hair every day, I was dizzy every time I stood up, I was on my period all the time, and

although at that moment I thought I was still fat, my friends closest to me thought I looked frail and sick. The worst part of it all was the congratulations and compliments I was getting from my family; my mum would tell everyone, “Dani finally lost her baby weight,” and would make an effort to show how happy she was that she could finally share clothes with me. I was constantly compared to my mother, which was all I ever wanted. But at what cost did I want to look like her? On the inside, I felt like shit.

I still struggle to understand and remind myself that food is fuel, and I don’t have to skip dinner just because I went out for breakfast, or I can enjoy a drink and sandwich at the same time from Starbucks without feeling guilty. I feel so grateful to have had the opportunity to move out of my family home early on in life. It has allowed me to step out of this toxic cycle and learn to have a better relationship with food, and above all, with myself.

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MUSE MAGAZINE

SEEING DOUBLE? THINK AGAIN.

BY KELSEY MCHUGH

PHOTOGRAPHER: SARAH REESE When asked to name a fun fact, it has always been a no-brainer: I have a twin sister, and no, we are not identical. I used to be bothered by the slew of invasive questions I’d then have to answer, but I’ve since learned to embrace it. While my sister and I now live relatively separate lives, we often talk about how our genetic bond has impacted our personal narratives, even to this day.

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My sister is fiercely honest and possesses a boldness that I have encountered in very few people, whereas I balance out the dynamic with pragmatism and a somewhat level-headed sense of reality. While our differences should have been powerful enough to let us carve out our own pathways, we were often defined as a collective. This approach to unity was intended to strengthen our bond, however, it created challenging dynamics in our relationship and amplified some of the harshest challenges of adolescence.

The comparisons began in elementary school, where we were frequently referred to as “The Twins.” Even at a young age, I began to hate this term.

instead, it had a deeply personal impact on our relationship that I don’t often share. My passion for learning fueled unfair academic comparisons for my sister, and on the flip side, I was perceived as less confident and socially energizing.

Hearing this gossip was always an emotionally-taxing experience. This time also taught me a lot about navigating complex relationships, as some people could not detach our identities. This led to a few of my most meaningful relationships crumbling due to differences with my sister, which made me deeply question what many of my friendships were predicated on. It made me feel like I’d been a social obligation all along.

A&W after seeing my residence room for the first time - two words: double loft. The changes were too sudden, and I felt as if I could not catch my breath.

For someone who had always praised herself for being able to adapt to anything, I wondered if I’d always had a false sense of confidence because of the constant anchor in my life: my twin.

While the initial transition was disastrous, I slowly found my footing. Orientation week connected me with some of my closest friends, and I found myself grounding my new relationships in things I hadn’t before. I had suddenly been given a blank slate, and I felt compelled to share my random thoughts, sense of humor, and deepest secrets all within weeks of knowing them. I tended to be a private person, and having this heightened sense of vulnerability allowed me to experience more clarity. For once in my life, I was simply Kelsey, and with time, I felt more liberated and willing to be spontaneous without the fear of judgement.

In a time when you’re supposed to be “finding yourself,” it was difficult as the labels that defined us individually also defined the other. I wanted us to be celebrated for our differences while being viewed in the same light - which never happened. I feared that our failures would mutually define us, and I became overly critical of some of my sister’s deci- It has taken us each several sions, mostly because I want- years of introspection to truly ed to protect our relationship. grapple with our senses of individuality. We often took on the I came to Queen’s all alone, no burden of each other’s hardlonger having a reflection trail- ships but have learnt to help ing beside me. My sister would each other heal instead of interbe attending school back home, nalizing our guilt. Our relationand it was the first time we ship is now steadfast, and I am would be separated in our life- inspired by her truth, encourtime. I remember feeling over- agement, and creativity. She is whelmed as my family pulled my closest confidante, and I’m High school was supposed to be off the highway and eventually grateful that we will eternalan opportunity for renewal, but crying in the parking lot of an ly circle in each other’s orbits.

As we transitioned to adolescence, our innocent priorities were soon replaced by the desire to be beautiful (even with rainbow braces) and be chased by the boys in our classes. I remember that my first true heartbreak was when my 8th-grade crush confessed to my sister that he liked her. He decided to slow dance with her at one of our school dances, and to this day, I still can’t listen to All of Me by John Legend. While my fragile heart would eventually mend, this somewhat painful event triggered my awareness that comparisons would be made about things that were out of our control, and this was a cycle that would seemingly never end.

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FA K I N G IT

BY HALEY MARANDO

MUSE MAGAZINE

CONTENT WARNING: THIS ARTICLE DISCUSSES SEXUAL TRAUMA AND HYPERSEXUALITY, AND MAY NOT BE SUITABLE FOR ALL READERS. When you’re a victim of trauma - in my case, sexual trauma - there’s a certain degree of pressure that you feel to give your story the conclusion that everyone expects. People want to hear that you made it out, so that’s what you tell them because the real truth, the twisted truth, is better kept hidden away in the dark.

At least, that’s what I used to think.

There’s a perception about what happens after trauma that crafts the mould of a “perfect victim.” It’s expected that you’ll endure explicitly negative side effects such as post-traumatic stress disorder, panic attacks, and a complete fear of all things sex-related, all of which are true, and all of which I have been able to recover from, or at least manage. But there’s also the misconception that when you don’t find yourself in internal anguish any more, that means you’ve healed.

For years, I felt an aching sense of shame because the thing that I was supposed to fear the most was the one thing I hungered for, day and night.

So much so that I started to wonder if my mind had created fake memories of fake traumas. How can I be a sexual assault survivor if I’m constantly starving for the taste of sexual desire?

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What I was externally displaying as the reclamation of my body and sexual liberation - which should be celebrated was internally the unhealthy behaviour of hypersexuality - a completely normal side effect to sexual trauma. The two appear identical on the surface but are

drastically different, which is why my behaviour wasn’t alarming in broad daylight.

The definition of hypersexuality is heavily debated, but in my case, it meant the development of an obsession over a repetitive pattern of increased libido and sexual behaviours, which resulted in damaging consequences.

I didn’t have an addiction to the act itself, but I had an addiction to the process of getting there, to the control I gained. It was easy for me to get someone hooked on my charm, take them home, leave before the sun would rise, and rarely to speak again.

I felt no sense of pleasure at all; the act itself was mostly either numbing or painful. And while my “I have three orgasms in five minutes” friends tried to convince me that “maybe you just haven’t found the right position yet,” my mind would never let me get to any place of pleasure, let alone orgasm, because it saw sex as one thing only: abuse.

But how do you look at your friends and tell them that your “legendary” stories are nothing but a response to trauma, always resulting in a paralyzing fear that left you hanging over the side of the bed, unable to speak?

I thought that if I could train myself to make it through an encounter with a stranger, then I’d be able to control my triggers and be “normal” when I’m with someone I care about. So, I faked it.

To some degree, I knew what I was doing was wrong, but I couldn’t physically stop myself. I eventually stopped caring if I liked them, and then I stopped caring about if I was attracted to them, and then, with utter regret, I admit that

I stopped caring about who they even were. I didn’t even know who I was.

It all boiled up to a brutally awful episode of post-traumatic stress in the middle of a sexual encounter. The mere way the light shadowed his face triggered me into hallucinating that I was back experiencing an assault, seeing him as the abuser.

Trauma comes at you in waves, but on this night, it nearly swept me into the undiscovered depths of the dark sea. I knew that if I wanted to live, I couldn’t keep doing this.

To this day, my biggest regret is not being able to communicate what was going on and, in the process, hurting people; for that, I am eternally apologetic.

I don’t tell this story to create a sense of fear and hopelessness but simply for awareness. What is often shown through education is the perception of a weak, depressed, and isolated victim - the “perfect victim.” To some degree, I believe my hypersexuality stemmed from the fact that I didn’t want to be seen as weak (because surviving multiple sexual assaults is anything but), which thrusted me to the polar opposite side of the trauma healing spectrum.

If you have endured common experiences, know that it is completely normal, know that this is your trauma talking, and know that you are not, as I told myself many times, “absolutely f*cked in the head.”

We are not weak. We are not “perfect victims.”

I’m not a victim. I’m a survivor. Not one person can take that away from me.

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CREATIVE DIRECTOR MAYA GINZBURG PHOTOGRAPHER NICOLETTE SHWARZMAN

Helena MAKEUP MAYA GINZBURG CREATIVE ASSISTANT BEN EVANS-DURÁN MODEL HELENA WASYLYK

MUSE MAGAZINE

Le Unione 44

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CREATIVE DIRECTOR JOSEPH OLADIMEJI PHOTOGRAPHER NICOLETTE SHWARZMAN MAKEUP & HAIR SUCCESS FIANU MODEL JADE LEONARD & BRONTE SIMON

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MUSE MAGAZINE

Editor-in-Chief Anna McAlpine DIRECTORS Business Director Hannah Nasiry Creative Director Ben Evans-Durán Online Director Elana Yamanouchi Head Editor Katherine Stanley-Paul

EDITORIAL Editorial Assistants Denise Nicolaou Lifestyle Editor Julia Ranney MUSE’ings Editor Julia Sun Arts Editor Maddison Andrews Fashion Editor Thalia Anobile Entertainment Editor Isobel Gibson

Lisbet MacLean Bianca Naim

CREATIVE Creative Assistants Simon Crête Brianna Horton Maya Ginzburg Joseph Oladimeji Chanel Romeo Makeup Artists Success Fianu Mariangela Casarella Abby Ocochinsky Lauren Thompson Maya Ginzburg Adam Oaknine

FINANCE AND SPONSORSHIP Head of Finance and Sponsorship Zoe Harrison Sponsorship Coordinators Kyara Andrews Mia Sunner Jaida Egboye

LAYOUT Head of Layout Sophia Yang Layout Designers Hareer Al-Qaragolie Frannie Shen Julia Yang Sierra Wong Flora Lin Isabella Enriquez Juliana Costa PHOTOGRAPHY Head of Photography Nicolette Shwarzman Photographers Olivia Wright Kieran Turnbull Sarah Reese Erica Giustiniani Adam Gordon 48

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VIDEOGRAPHY Head of Videography Erica Giustiniani Videographers Zoe McCormack Kieran Turnbull Ashley Cowie Carter Cummins Keon Smither Nicolette Shwarzman

MARKETING Head of Marketing Erin Macintosh Marketing Coordinators Lauren Thompson Neva Dean Claudia Beattie Sheetal Goyal Maya Kotsovolos Carly White EVENTS Head of Events Kathleen Lecuyer Events Coordinators Alice Drummond Caroline Hart Georgia Pappas Sierra Holas TECH Chief Tech Officer Brendan Nugara Tech Team

Evan Kilburn Hanbo Yu Victor Uemura Trent Day Justin Ovenell Mary Whetham ONLINE Online Interns Ila Lindsay Caitlin Parkes Online Editors Camryn McKay Megan Fanjoy Hareer Al-Qaragolie Katherine Lidtke Alexa Margorian Olivia Anstess Online Contributors Rachel Salem-Wiseman Jackie Marson Nicole Grant Megan Tesch Jenna Ryan Rachel Dunn Alyssa Giovannangeli Helena Wasylyk Fiona Meeson Allie MacGregor Amy Newnham Jack Selby Stephanie Crimi Freda Li Joanna Petropoulos Amira Ghobrial Lyba Nasir Haley Marando Matilda Eklund Ashanthi Francis Emily Hargrave Makaila Atsonglo Margot Dent Sarah Van Drunen Nathaniel Nethercott Sadie McFadden Online Illustrator Sadie Levine

ISSUE XXII

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