Off the Cuff - Issue 11: The Consumer Issue by Off the Cuff Magazine

off the cuff the consumer issue

letter from the editor As you are probably aware, this past year has seen many ups and downs, many twists and turns. As college students, we face these turbulent times through a magnifying glass. Every new headline, update, and notification. We feel the burn, the urgency that is running through our society, intertwined with our own eager hopes and goals. The culture we are surrounded by only deepens this confusion with its emphasis on paying for a quick fix: “Stressed about the political climate? Buy this, take that.” “Today only! 50% off of the pair of jeans that will bring you pure joy, fix all your problems and make your ass look great!” Our industrial world has produced a toxic idea that both our internal and external pressures can be cured easily and quickly, simply by finding the perfect bag or pair of shoes. And yet, participating in this culture can also support the essence of life: art. The fashion industry continuously toes the line between art and passion and the superficial and consumption obsession we all know too well. The delicate balance between love of art and love of things. We at Off The Cuff experience this precarious dance every day: by trying to understand how our lives interact with our shared love of fashion and culture that has brought us together. We delve deep into exploring this conflict through the content of Issue 11: The Consumer Issue. With photoshoots and articles that examine the issues of fast fashion, the lure of luxury and our self (and selfie) obsession, we have worked this semester to produce not just a magazine, but a study of what it means to be an artist in this capitalist world. With the strong leadership of our incredible executive board, this issue was developed through a rich and beautiful collaboration of the Off The Cuff staff. While we at Off The Cuff serve as a magazine with a goal of producing a bi-annual issue, we are first and foremost a community. We are a family, a place where students from all over the world, from all different backgrounds, come with a deep love and passion for fashion and art. Issue 11 was built from the ground up with the bare hands of the staff featured in these pages. While we are all struggling to find a place in our ever-changing world, we are thankful to be apart of this vibrant community. - Maya Green Silver, Editor in Chief

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take - out shopfront sugar & spice reminisce responsibly interview with nephtaliem mccrary

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The Commercialization of the Women’s Movement By Ina Joseph It’s 2018, and everywhere you turn you see traces of feminism. But not in protest signs and changes in policy, it’s on the clothes we wear and the accessories we don. Vagina-shaped earrings and pins, Titty Tees and Pussy Hats, print-screen shirts sporting phrases like “Feminist AF”, “The Future is Female”, and “Grl Power.” For many self-described “feminists” in this day-and-age the proof is in the product. We show our feminism by wearing it. The women’s movement has largely gone commercial.

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One of the most taled-about displays of feminism in the fashion world stemmed from Maria Grazia Chiuri’s 2016 debut at Christian Dior. Her white, cotton “We Should All Be Feminists” t-shirt sparked conversation for months — partly because it was $710, but mostly because of its bold candor. Since then, copycat design has flourished at more accessible retailers like H&M and Forever 21. Even Buzzfeed chimed in on the trend with their 2017 piece on “25 Items of Clothing Every Badass Feminist Should Own.” The commercialization and commodification of feminism, however, started way before 2016. The rise of capitalism in the Reagan-era created an emphasis on consumption rather than production. This was particularly true for women whose movement for

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I love a good, confrontational, prowomen t-shirt as much as the next girl, but one has to wonder; how effective is a movement if the only way it’s exercised is through the purchase of products with witty taglines/scandalous imagery?

In her extensive analysis of postfeminism — the notion that most, if not all, feminist goals have been achieved, and the women’s movement is no longer necessary or relevant — the University of London professor and feminist cultural theorist Rosalind Gill identifies “feminismlite” as a consequence of feminism’s commercialization. In her 2016 work Feminist Media Studies, she states that the fashion-oriented, “rebranded version” of feminism “is not just feminism-lite but feminism-weightless, unencumbered by the need to have a position on anything.” She’s not wrong: for all the people out there eager to pump their consumer dollars into capitalistic mass-retailers and clothing distributors selling “empowering” apparel, how many of them can actually articulate their feminist ideals?

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equal rights was suppressed and belittled by hyper-domestic and hyper-feminine representations in the media. All of these combatting images and sentiments, as well as the perplexing place feminism held in American society, resulted in the misguided notion that social justice equaled marketable consumer goods. Images of housewives who were only good for buying new kitchen supplies mutated into Carrie Bradshaw’s whose liberation and empowerment came from buying six-inch heels.

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Furthermore, how many of these retailers sell this clothing out of true endorsement for the women’s movement, rather than because it’s a hot trend? Do consumers of these products even care to know the difference?

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As we purchase more titty tees, vagina pins and pussy hats, “feminism becomes a ‘cheer word ’—unimpeachable, but also devoid of substance,” Gill warns. But that’s not to shame any and all from putting a “Nasty Woman” t-shirt on their christmas list, buying and wearing feminist apparel that is harmless, as long as it does not become our only mode of activism. It must be recognized that just because you wear something that says “Feminist”, doesn’t automatically mean you are one. You go ahead and wear that “Girl Boss” crew-neck sweater to class or to the movies, but make sure you’re also wearing it as you head to the polls or to march. As responsible consumers and mindful feminists, it is crucial that we do not allow the commercialization of the women’s movement to become its identifying factor. Feminism must be a verb, not just a noun; it requires more than saying or wearing but doing.

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Off The Cuff Magazine Boston University Issue #: Eleven Receipt #: One Date: Fall & Winter, 2018 Creative Director James Krolewski

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Photographers GianCarlo Lobo Haley Abram

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BTS Photographers Meera Sabeh Ryan Yuen

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Angel Tsang Emma Purtell Nicki Hymowitz Sophia Zephir Tatyana Khashoggi Xenia Gouras

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Stylists Alberto Orive Ariela Levy Megan Kalili Sannah Kim Zixi (Rosa) Yang

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Set Designers Angela Dong Julieta Rakover Luc Belder Maya Silver Meghan Cronin Sarah Cummings Sofia Zalaquett Sophia Zephir

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Art Directors Abigal Kolnik Alisha Kothari Angela Dong

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Creative Director James Krolewski Photographer Annie Millman BTS Photographer Yiming Chen Photo Editor Sarah Cummings Models Anika Dhar Eve Worobel Haley Lerner Kassidy Green Selen Terzi Stylists Alberto Orive Gahouray Dukuray Hannah Morris Lena Otalora Sydney Cairns Hair & Make-up Artists Erin Kahaly Katie Zizmor Saumya Chugh Videographer Ryan Yuen

Art Directors Beca Dutra Charlotte Kershaw Fiona Lin

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Set Designers Angela Dong Sofia Zalaquett

SENT FROM MY IPHONE

A Member of the iPhone Generation By Christian Jaeger As a member of the “iPhone Generation,” I must say it’s a blessing and a curse. I’m nineteen, a sophomore at Boston University, and I use my phone (let me stress iPhone) daily with the majority of my peers. It’s always a surprise when I meet someone without an iPhone - a nice surprise. “Okay, there are still some people left. Some people who haven’t given in,” I tell myself.

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It’s kind of amazing to be alive when the iPhone was invented. Amazing and saddening. A mini computer that sits in my pocket for the majority of the day and sometimes gets used - mostly for music, photos, or calls and messages (what phones were all meant for ladies and gentlemen).

I have seen phones bring out some of the most joyous emotions in people. Finding out you got into your dream school. Listening to your favorite song on your walk home. Taking a picture to signify a beautiful night. Telling your grandmother you love her a final time over the phone. Discovering that you did indeed get the job. I have also seen phones completely destroy people. People caring more about their social media image than their actual image. People raised to believe that ending friendships and relationships with a simple text message is acceptable. People participating in acts of cyberbullying. People threatening to blow up a school on a social media platform. I’m excited and nervous for what’s to come. I think it’s safe to say that many share that attitude. Technology is vast, and it seems to be constantly oneupping itself. It’s unpredictable. It’s incredible. It’s kind of terrifying.

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Creative Director James Krolewski Photographers Crystal Li Isabella Arteaga Rae Lin BTS Photographers David Haetty Paolo Moreno Models Elizabeth Flagg Gianna Ferron Joel Aduba Julian Shapiro-Barnum Jurnivah Désir Sarah Feather Stylists Ana Lucia Perla Julia Bertelli Kendall Caputo Nour Nabhan Hair & Make-up

Videographer Ryan Yuen Art Directors Pilar O’Connor Tulasi Sundaresh

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Mili Hurtado Rebecca Jang

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Off The Cuff Magazine Boston University Issue #: Eleven Receipt #: Four Date: Fall & Winter, 2018 Creative Directors Julia Selig Julieta Rakover Sima Halwani Tatyana Khashoggi

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Stylists Ariela Levy Hannah Morris Julia Seelig Kendall Caputo Nicki Hymowitz Sydney Cairns

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Hair & Make-up Artists Erin Kahaly Katie Zizmor Saumya Chugh

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Off The Cuff Magazine Boston University Issue #: Eleven Receipt #: Five Date: Fall & Winter, 2018 Creative Director James Krolewski

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Photographer Meghan Cronin

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BTS Photographer Cassandra Rodriguez

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Photo Editor James Krolewski

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GianCarlo Lobo Luc Belder Maya Taylor Ted Tron Zihan Zhang

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Stylists Antonia Araya Deeksha Kandan Madeline Wildermuth Richard Furman Sophia Zephir

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Hair & Make-up Artists Amanga Siegel Katie Zizmor

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e c i p S & r a g u S ...and every thing nice.

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Reminisce Responsibly By Niki Hamann

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Humans have a tendency to romanticize the past; it’s the chink in our armor, our Achilles’ heel, our kryptonite – so to speak. We could all be charged guilty of going off on tangents, starry-eyed, about times not so long ago. We fondly remember our childhood, past relationships, and other such distant memories – the result of our idealistic brain holding tight to the good times and letting the bad ones slip away into the no man’s land of our consciousness. In the spirit of reminiscing, our recollections are

comparable to a developing Polaroid. The outlines of the shapes are visible, yet the hazy grain of the film distorts the image and we are unable to clearly see the whole picture. Though wallowing in antiquated memories holds some sort of twisted pleasure for many of us, Eckhart Tolle said it best in reminding us why it is important to stay grounded in the present moment: “the past gives you an identity and the future holds the promise of salvation, of fulfillment in whatever form. Both are illusions.”

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91 So I need to cook dinner

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and pretend to enjoy mys elf?

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92 Honey,

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why would I complain

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drink mys elf numb?

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The 1950s in America is one such collective memory that is characterized by its sweet innocence by people like my grandparents. Their rose-tinted view sometimes omits the racism and misogyny of the time, overlooking the slew of issues that American culture was struggling with internally. Nothing exemplifies the “good ol’ days” mentality better than the advertisements of the 50s. Advertisements were

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94 created in hopes of inspiring us as consumers to buy something we didn’t even know we needed. They market what we don’t have and play on our worst fears and insecurities to make us want their product. At the peak of nationalistic pride in the US of A, consumerism and advertising joined hands, feeding into each other as corporations played tug-of-war. They wrestled with one another to achieve a certain je ne sais quoi, a magical appeal that would have crowds running to the closest department store to get their hands on whatever product claimed to solve all their problemsand most importantly, please their husbands! Advertisements of the 50s and 60s are iconic, so iconic that shows like Mad Men were created to give us a tangible piece of the time period so that we could desperately hold on to it. The image of a woman with a perfect smile, cooking a perfect meal, and catering to her husband’s every whim is the tie that binds these ads together.

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The sexism so blatantly displayed in these ads is almost laughable in this day and age â&#x20AC;&#x201D; almost. An artist under the pseudonym Saint Hoax rose to prominence on social media for his satirical and subversive creations that examined politics and issues of social justice. He is best known for his anti-Trump art movement, in which he layered Trumpâ&#x20AC;&#x2122;s own words over degrading advertisements of the 1950s and 60s. The comparison is obvious and telling, and has succeeded in creating dialogue and awareness surrounding the persistent social issues we still face today.

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SUGAR & SPICE Neil Diamond once sang, “Good Times Never Seemed So Good,” and maybe that’s because they were just never that good to begin with. All cynicism aside, taglines such as, “Don’t worry darling, you didn’t burn the beer!” are no longer deemed appropriate by the majority, and movements for gender and sex equality are rampant. This is not to say you shouldn’t listen to some Buddy Holly every once in a while, or admire Don Draper via Netflix as he dominates the New York advertising scene. Every era has its flaws, as do our memories – although our minds may try to dispel this notion. Reminiscing responsibly is the key to living in the present.

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for that ex planation

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Creative Directors Julieta Rakover Sarah Cummings

Photographers Julieta Rakover Katie Zizmor

Models Eve Worobel Gigi Telvi Kaitlin Santana Marisa Marino Samantha Morse

Stylists Ariela Levy Julia Selig Nicki Hymowitz

Hair & Make-up Artists Katie Zizmor Saumya Chugh

Set Designers

Art Directors Julieta Rakover Sarah Cummings

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Angela Dong Julieta Rakover Sarah Cummings Sofia Zalaquett

.. . o t s k n a ng h i d T l Tra n p e c ia r

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For sharing their vintage thrift gems. 49 River St, Cambridge, MA 02139

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Interview with Owner, Nephtaliem McCrary By Melissa Dalarossa OTC: Tell me about yourself—what’s your story?

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Neph: I am a professional singer, I think would be the first thing, and I grew up in Newton, Massachusetts. I’ve been doing music for a really long time and I’ve always been into fashion and style. Saved up a bunch of money and just happened to be in the right place at the right time when the previous owner was looking to change ownership. She’d been looking to move on for about three years. She’s still around, awesome lady, her name is Marlene, and I’ve been a customer of hers at this store for maybe twelve years. I’ve lived in Cambridge for almost ten years and just had my first son. So yeah, just a single dad, doin’ it, still singing, still making music, trying to breathe new life into this legendary place here.

OTC: What was the transition like from shopper to owner of the store? Neph: Some parts of it took a lot of learning and adjustment, some struggles here and there, and some of it was very easy. I’m a performer, I waited tables for a long time, I’ve done corporate retail, management and stuff, so transitioning to clothing retail, it wasn’t like I had no idea what I was doing. Customer service and creating an experience for shoppers aren’t a real stretch for me either. Paperwork, and staying on top of all the fine details of owning and running a business, that part was a lot for me to adjust to. I was very lucky to inherit the information and the vast resources that Marlene has acquired and maintained relationships with over the last 43 years.

OTC: What is that like, curating the inventory for the store? What kinds of pieces do you look for; how exactly do you find them?

Neph: It’s difficult. I have to remember what people are into, I have to put my flavor on it, and I have to maintain staples. I’m always looking for ‘50s and ‘60s clothing and style, because it’s just always been a popular thing. What’s weird for me is that now, stuff from the ‘90s is considered vintage. Everything is very cyclical in fashion so things keep coming back.

OTC: With the rise of fast fashion and the hyperconsumerism of our society today, have you noticed any change in the vintage/thrifting/consignment scene?

Neph: Well yes. I mean, obviously, places like Goodwill and Savers hurt the flow of business for people who pick and curate specific collections. You could go to a Salvation Army and there’s a lot of junk, but you could also pick through there and find the thing. But I like that because it continues the culture. Yes, it has changed from places like this, it’s different, but I’m glad there’s somewhere where people are looking for old stuff, because it keeps the culture alive. The online thing is crazy. But again, I don’t have any animosity towards it. Has it affected this business over the course of the last twenty years as it’s come into fruition? Definitely. It might be a good reason why a lot of stores have gone out of business.

OTC: Can you talk a little bit about the history of the store?

Neph: Sure. There was a guy, and he opened this store in 1968, up the street around the corner, and then after a year of the store being opened, he passed away. His friend took the business over, moved it to this location, and it was here for like two years until he decided he didn’t want to run it anymore. So he found five young people—”hippies” if you will—who he brought in and hired to run the store, and they ran it like a commune. And then one by one, over the years, someone would wanna leave, and they would buy that person out. And then Marlene was the sole owner from 1983 on to two years ago.

OTC: Do you have any piece of advice for newbie thrifters?

Neph: I would say to try things out of your comfort zone. I think breaking out of the pattern of what you’re used to is the best way to thrift. And also not to play into the mentality of, “Where would I ever wear it?” That mentality speaks to being uncomfortable going against the norm. If it looks good on you, you can wear it anywhere pretty much, within reason.

contributors Maya Green Silver Editor in Chief James Krolewski Creative Director Sarah Cummings Art Director

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DeeDee Ogbogu Managing Editor Julieta Rakover Photography Director

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Mili Hurtado Brand Outreach + Events Director Wallis Perry Public Relations Director David Neary Finance Director Tianze Huang Web Editor

Photographers: Annie Millman, Crystal Li, GianCarlo Lobo, Haley Abram, Isabella Arteaga, Julieta Rakover, Katie Zizmor, Meghan Cronin, Rae Lin BTS Photography: Cassandra Rodriguez, David Haetty, GianCarlo Lobo, Julieta Rakover, Meera Sabeh, Paolo Moreno, Ryan Yuen, Yiming Chen Models: Angel Tsang, Anika Dhar, Dorian Dreyfuss, Elizabeth Flagg, Emma Purtell, Eve Worobel, GianCarlo Lobo, Gianna Ferron, Gigi Telvi, Haley Lerner, Joel Aduba, Julian Shapiro-Barnum, Jurnivah Désir, Kaitlin Santana, Kassidy Green, Lindsey Smith, Luc Belder, Marisa Marino, Maya Taylor, Michelle Chocron, Nicki Hymowitz, Samantha Morse, Sarah Feather, Sasha Berman, Savannah Jooste, Selen Terzi, Sima Halwani, Sophia Zephir, Tatyana Khashoggi, Ted Tron, Vic Spero, Xenia Gouras, Zihan Zhang

Hair & Make-up Artists: Amanda Siegel, Erin Kahaly, Katie Zizmor, Kat Jeronimo, Mili Hurtado, Rebecca Jang, Saumya Chugh Videographers: Alex Lustig, Elena Lee, Ryan Yuen, Sarah Cummings, Selen Terzi

Writers: Allison Antonevich, Barbara Kang, Christian Jaeger, Dane Persky, Deean Yeoh, Dora Agali, Doreen Zhao, Ella Rose Morgan, Ina Joseph, Jade Fisher, Jailyn Duong, Katarzyna Jezak, Meghana Savi Patnana, Melissa Dalarossa, Melony Breese Forcier, Nikila Hamann, Rhoda Yun, Sofiko Pipia Art Directors: Abigail Kolnik, Alisha Kothari, Angela Dong, Beca Dutra, Charlotte Kershaw, Dorian Dreyfuss, Eleanor Schiltz, Fiona Lin, Michelle Chocron, Pilar O’Connor, Sarah Perkins, Saumya Chugh, Teddy Tron, Tulasi Sundaresh, Westin Bodkin Set Designers: Angela Dong, Julieta Rakover, Sarah Cummings, Sofia Zalaquett

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Brand Outreach Team: Blau Ramos, Deeksha Kandan, Dani Haskins, Julianna Muise, Asia Gordon, Amanda Berman, Kate Sieler Public Relations Team: Abigail Kolnik, Allie Daniel, Delaney Hulshof, Jacquie Jakimowicz, Maggie Axford, Natalie Schorn, Solana Chatfield, Stevie Mazies Events Team: Alicia Shamji, Allegra Kevorkian, Robin Eisenson, Delaney Hulsof, Jenni Rudman, Kaya Randall, Sydney O’Neil Finance Team: Audrey Forouzan, Annette To, Gianna Loiacono, Kaylee Bushell, Maureen Interino, Orine Dadon

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Stylists: Alberto Orive, Ana Lucia Perla, Julia Bertelli, Antonia Araya, Ariela Levy, Deeksha Kandan, Gahouray Dukuray, Hannah Morris, Julia Seelig, Kendall Caputo, Lena Otalora, Madeline Wildermuth, Megan Kalili, Nicki Hymowitz, Nour Nabhan, Richard Furman, Sannah Kim, Sophia Zephir, Sydney Cairns, Zixi (Rosa) Yang

Editors: Jade Fisher, Melissa Dalarossa, Sofiko Pipia