Off The Cuff- Issue 08

Issue 08

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Off The Cuff.

Off The Cuff.— Spring/Summer 2017

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S PR IN G / SU M M E R 2 017 ISSUE 08

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OCEANIA

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Ove r Exp o s e d

WRITTEN BY TANYA MERISIER EDITED BY ARIELLA JAVAHERI

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WRITTEN BY DEE DEE OGBOGU EDITED BY SAMANTHA KELLEY

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Th e Inf e s t a t i o n Of Na t ure f o r Fa sh i o n

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C HLOROPHY LL

PIXEL

I Do n’t S e e Ra c e

WRITTEN BY INA JOSEPH EDITED BY SAMANTHA KELLEY

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Fa c i ng Po l l ut i o n

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REFLECT

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Make Th e Sidew al k Your Ca tw a l k

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PRIMARY

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CONFORM

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TRA$H BARBIE

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The Lie Of The Pa r ty WRITTEN BY AMANDA GREENIDGE EDITED BY VINAMRE KASANAA

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The Re a l Co st o f Co uture WRITTEN BY ISAIAH THARAN EDITED BY SARAH ARMENT

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INTERNET DEMON

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Pro ud To Be Me WRITTEN BY LOGAN CARTER EDITED BY BRITTANY KINCH

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PL ASTIC

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L E T TER F ROM THE EDI TOR

Even though I grew up in a rural, farm-y area, I never realized how significant nature was to me until I was no longer surrounded by it. Going to school in a city has made me realize how much I took it for granted: instead of waking up to birds chirping, I wake up to sirens and honking.

Instead of walking past endless trees and fields on my way home, I walk past buildings and garbage cans. While there is so much to love about cities, nature — both physically and spiritually — does not seem as important to urban areas.

This semester, Off The Cuff decided to explore the importance of the environment and the relationship between man and nature. Several photoshoots for Issue 08 were inspired by the current state of the environment, sparking our writers to examine the impact the fashion and cosmetic industries have upon the Earth. We extended the exploration of this topic to our layout as well. After we realized half of the shoots have natural elements while the other half have synthetic components, we decided to organize the spreads in a progression from natural to man-made.

This spring, Off The Cuff also experienced the blossoming of four new Executive Board members. Ella Tatum and David Neary became the leaders for our finance and brand outreach teams, while Eunie Jang and Sophie Lindemann trained to be the leaders of the art direction staff.

By the end of May, OTC will be saying goodbye to two current E-Board members, Erin McCarthy and Madeline Carpentiere. To Madeline and Erin: There is no way to adequately thank you for the work, commitment, and love you both gave to OTC. It’s hard to say goodbye to such incredible leaders, creative minds, and close friends.

As well, thank you to all of the staff for the incredible work on our Spring/Summer 2017 issue. We hope that Off The Cuff is a place of enjoyment and acceptance. And to all of our readers, I hope that Issue 08 can be an escape, if needed, from the sometimes-overwhelming life in a city.

XOX

CARLI SCHMIDT

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FARE WE LLS

“I’m embracing the time we spent together/ Without forgetting it/ it’s warming my heart.” A special person showed me this song, and it couldn’t be any truer. Thank you all for making my time at Off The Cuff the most memorable experience I will ever have in college. Creating and working with some of my best friends only happens every so often, and I’m incredibly lucky I was able to have that experience. To my E-board since the beginning, you all mean so much to me in different ways, but I’m sure you already knew that since I tell each one of you almost everyday. Hearts... forever and always.

M ADELINE CARPENTIERE

Last year in January seven people sat down at a table to be quizzed on the history of Off The Cuff. We were scared and excited — and strangers. Today I’m leaving this magazine with those poeple next to me as family, best friends and co-creators that I will forever cherish. We’ve had the privelage of writing our own history for this magazine that each and every one of you is a part of. To everyone I’ve had the pleasure of working with, from styling wigs, playing with layout, to pouring glitter on peoples faces, thank you. To my E-Board I love you! To Sophie (my design baby) good luck and it’s been the most cherishing experience having you by my side. I can’t wait to see you grow and make this magazine your own. Thank you for forcing me to laugh, to cry, to create and to love - and for making this experience something I will truly never forget. Xox. ERIN MCCARTHY

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CREATIVE DIRECTION MADELINE CARPENTIERE PHOTOGRAPHY ERIN MCCARTHY FEATURING MELODY EATON & MIOL ANI GRENIER HAIR & MAKEUP S AVA N N A TAVA K O L I ST YLING D E E D E E O G B O G U, S A M A N T H A B M O R S E , J A N N A C O L L I N S , O L I V I A G E L A R D, E M M A W E L B O R N, C A R L I S C H M I D T & E R I N M C C A R T H Y ART DIRECTION I VA N N A L I N & E R I N M C C A R T H Y

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FEATURING : Uniqlo, Old Navy, Moncler , Donna Morgan, Xhileration & Hand made Tulle Skirts

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FEATURING : Honey Punch, BCBG Max Azria, Brave Soul, Mardel, & Adrianna Papell

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CREATIVE DIRECTION ERIN MCCARTHY PHOTOGRAPHY IRENE ZENG FEATURING L A U R E N M O G H AV E M , M AT T H E W H A R T N E T T, XINRU HUANG & CRISTOFER BORGHESE HAIR & MAKEUP S A U M YA C H U G H ST YLING K E N D A L L C A P U T O & Z A C H A R Y T H O M A S ART DIRECTION MADISON BRINSER & ERIN MCCARTHY

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The Infestation of Nature for Fashion CREATURE KEEPER

WRIT TEN BY DEE DEE OG BO G U

23 It is widely known that the earth is being stripped and bereft of its natural resources, leaving organisms to suffer and attempt to thrive in what’s left. Often the rhetoric percolating throughout social media is that big corporations are preoccupied with profit, and people who don’t care enough to switch to more earth-friendly choices and veganism are the ones causing harm to our earth. It is forgotten that fashion also contributes to the constant slaying of earth. With models overwhelming presence on social media, runway shows becoming more accessible to the interested layman, compelling ads for new fashion lines and makeup brands playing onrepeat, and YouTube videos constantly stream ing clothing hauls and makeup tutorials, there

must be a reminder that this growing culture of fashion is hurting the earth as well. The fashion industry relies on the flourishing of our environment in order to gather the resources necessary to produce clothing and makeup. That cannot happen if the earth is constantly abused in the name of couture. The fashion industry is responsible for a lot of waste: the production of textiles such as polyester and other synthetic fabrics requires crude oil, which leads to carbon dioxide and hydrogen chloride emissions. The growing and reaping of cotton also harms the earth, with 25 percent of the pesticides used in the United States going towards the farming of cotton (at the expense of the precious bees we care so much about).

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FEATURING : ASOS, No.6, Steven Alan, Globe, & Zara Men

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Climate change is believed to eventually homogenize weather patterns and seasons, which will impact the diversity of fashion due to lack of distinctions between summer, fall, winter, and spring. Even though climate is a determining factor for clothing choices, the fashion industry is furthering the already imminent threat to our world — how ironic.

According to the Environmental Protection Agency, approximately 13 million tons of synthetic fabric is thrown away each year, in the United States alone. Synthetic fibers do not decompose, and fibers such as wool release methane: an even more harmful greenhouse gas than carbon dioxide. There must be a more energy efficient, environmentally conscious change to the way textiles are produced and discarded.

“We can demand the change; without us, the fashion industry would die as quickly as Earth is dying.”

The poisonous, cyclical reality doesn’t have to be permanent, if many of the players in the fashion industry decided to actively make a change. The good news is: we can do something about it, too. As consumers, we play an active role in this vicious cycle. We tend to forget that we don’t have to be fed beauty trends and fashion brands, we have the power to pick and choose. We can demand the change; without us, the fashion industry would die as quickly as Earth is dying.

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Our outcries are not being heard, so we should make them louder. There has been a growing number of makeup brands like Urban Decay, Tarte Cosmetics, Lush and Ciaté that are vegan, which speaks to the awareness of the company members. These brands are proving that earth friendly changes are possible. There are multiple websites that include vegan, earth-friendly brands: Cruelty Free Kitty, Logical Harmony, and Farm Sanctuary.

However, more needs to be done, both by consumers and leaders within the industry.

“ Our outcries are

not being heard, so we should make them louder.”

The lack of information about the decimation of the earth’s resources, because of the industry’s lack of concern, keeps us from knowing how significantly it threatens our earth. In order to preserve both the earth and fashion, there needs to be robust environmental changes in the fashion industry. It’s your money, your time, your fashion and your earth, so spend it wisely.

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CREATIVE DIRECTION SOPHIE LINDEMANN PHOTOGRAPHY MADELINE CARPENTIERE FEATURING MAYA TAYLOR, TEDDY TRON, ERIN MCCARTHY & NICKI HYMOWITZ HAIR & MAKEUP S A U M YA C H U G H, C A R L I S C H M I D T & S A M A N T H A B M O R S E ST YLING J A M E S K R O L E W S K I & J E S S I C A M I L L E R ART DIRECTION A N A R I N A L D I & S O P H I E L I N D E M A N N

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Facing Pollution CHLOROPHYLL

WR I T T EN BY MA D IS O N O LI VE R

You probably do not realize that you make earth-shattering decisions every morning. Starting the day by washing your face is hardly groundbreaking, but this mundane task could be hurting the environment in ways we never expected.

Soft exfoliation and extra deep cleaning sounds attractive, but once your dead skin is sloughed off, those miniature plastic beads drift down the sink drain and flow right into our waterways. Thankfully, President Obama signed a bipartisan bill that bans putting microbeads in facewash, with the goal being to protect our nation’s waterways.

Microbeads and chemicals in beauty products cause health hazards for aquatic life; no matter where you live, throwing plastic directly into water is not something to celebrate.

Have you ever seen a commercial encouraging throwing plastic water bottles into rivers or oceans? Probably not.

However, consumers only ever see the smiling, fresh faces during cosmetic commercials. These companies hide their environmental impact in order to make money.

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Deception and ignorance go hand in hand. While most Americans glance at product packaging and decide the

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FEATURING : Brandy Melville, J.Crew, Free People, Gap, & White Stag,

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fate of their shopping cart almost instantly, even the few people who religiously read ingredient lists can miss dangerous ingredients. In 2013, the European Union expanded their list of banned cosmetic ingredients to include 1,328 chemicals compared to the 11 chemicals the United States banned. Companies use the word natural far more liberally than they should. In the United States, as long as there is some percentage of unprocessed ingredients, a product can be advertised as “natural.” Consumers drawn to natural products are often deceived to think that they’re buying higher quality and environmentally friendly goods. Though we may repeatedly buy our favorite natural foundations and eyeshadows, this misinterpretation could lead us to repeatedly promote harmful brands.

Though not all ingredients are required to appear on the label, we should still look to avoid dangerous chemicals.

Recognizing ingredients becomes easier once you learn their names. And it becomes hard to forget their impact once you learn about the harm they cause to our bodies and our environment. A few common and deleterious ingredients include formaldehyde, parabens, and petroleum. Ironically, all three of these chemicals are commonly found in cosmetics in the United Stated and banned in most countries around the world.

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Formaldehyde is a known carcinogen that is often found in hair straightening treatments. The problem with liquid formaldehyde is that once it touches heat (a straightener or blow dryer) it turns into a gas and goes right into the air. Unfortunately, formaldehyde is also an asthmagen, meaning when inhaled, can cause asthma. Because we breathe in most of this harmful gas, whatever remains usually only affects the environment by destroying crops and plants when it is washed into waterways.

Another dangerous chemical to watch for is petroleum. It is commonly found in makeup, hair products, and obviously petroleum jelly (i.e. Vaseline). Petroleum is a crude oil and is harvested through fracking. The consequences of fracking are startling. This process requires an enormous 08 ISSUE

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amount of water, which depletes available water supplies as well as pollutes the used water with chemicals that ends up running into other healthy waterways.

Dangerous parabens tend to have suffixes including Propyl-, Isopropyl-, Butyl-, and Isobutyl-. These chemicals should be avoided because of their dangerous effects on reproductive health. The estrogen-mimicking preservatives are found in makeup, skin and hair care products. Their disruption to the endocrine system can cause reproductive and developmental disorders. When these products are washed down the drain, animals can be affected too. Wildlife is also susceptible to the negative effects of parabens, stunting their reproductive development as well.

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The similarity between all of these chemicals is not only their deleterious effects on humans, but also their inexcusable effects on our environment. Being one of the largest nations in the world, the beauty community in the United States has an enormous responsibility to helping the environment.

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The impact makeup has on our society and environment is often overlooked. It’s hard to think of a more intimate product than the ones we apply directly to our faces.

We should value the environment as much as we value healthy, flawless skin. Healthy skin deserves to breathe, and removing makeup temporarily allows recuperation.

Similarly, our environment could use a break from our misled beauty choices.

The simplest way to make a change in the cosmetic world’s carbon footprint is to support brands you agree with. There is a wealth of information online about brands, their products and their approach to environmental sustainability. Additionally, opting for brands that use less plastic, cardboard, and wasteful containers can make a huge impact. The common association between sturdy, “expensive feeling” packaging and higher quality products is misleading and detrimental to making a difference. Instead, buying from smaller, local companies with conscious products and packaging can lead to less environmental hazards. Consumer consciousness is the first step to protecting the environment.

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As young people, we are the target audience for many influential companies. Buying from brands that do not value environmental causes can be dangerous in the present and in the future. Until the gap between what major companies offer and what consumers demand is closed, we won’t see significant environmental improvements. Something as simple as makeup can start a positive chain reaction, and we can begin by educating ourselves and understanding what our favorite products are made from. Face wash options are seemingly endless why wouldn’t you try a new brand if it mean helping the environment?

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CREATIVE DIRECTION DERIC HAMER FEATURING R U I Q I M A , J O R D A N F E S S E H A I E & J A H N AV I D E S O U S A HAIR & MAKEUP S A U M YA C H U G H PHOTOGRAPHY EDITOR V I O L E T G I D D I N G S ART DIRECTOR E R I N M C C A R T H Y

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Over Exposed WR I T T E N BY TA N YA M E R I S I E R

Picture

yourself on

Most images of ourselves are somewhat false.

Picture yourself on a tropical beach, or prancing around the halls of the Louvre. Now flip through the photos you hypothetically captured. Half of them are likely snapshots of mundane moments, such as having dinner on the beach, or glancing at a work of art. Yet, you post them on various platforms so that others can see what a wonderful time you are having. The downsides of these experiences are what get left out.

beach,

We want our lives to appear full—full of laughs, cries, screams, gestures, events and people. This is why so many of us live our lives through photos and whip out our cameras to document particular moments.

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We want our lives to appear full—full of laughs, cries, screams, gestures, events and people. This is why so many of us live our lives through photos and whip out our cameras to document particular moments.

or prancing

Even though one of the reasons we take these photos is for the memories, it is also because our lives look better in photos, both to us and to others, because they are exaggerations. Simple moments are made to look happier or more grandiose through a filter or pose. However, that doesn’t mean our photos mean nothing; they provide insight as to who we are and who we are not.

around the

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For example, a photo of someone hiking in the Yellowstone National Park can mean many things. It may mean you’re stepping out of your comfort zone and trying new things, or continuing your travels as an ultimate adventurer. Your hair in the wind and sun-kissed skin are signs of satisfaction or the slight down-turn of your lip, means discomfort. The photo can say something different about what you are interested in and what you are willing to say to each audience member.

suprising when someone states, “Wow, I barely recognize you!” in response to a photo?

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You know less about a photo than you may think. Is it actually surprising when someone states, “Wow, I barely recognize you!” in response to a photo? In person your expression is a result of a million little twitches happening at once. A photo could never fully capture a moment like that. It merely captures a sliver of it.

Is it actually

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This isn’t a rant against the use of photography in our everyday lives. Photos are valuable to cherish memories and share experiences with loved ones.

However, it is a reminder that we should be cautious when trying to make assumptions through photos. People are different in the flesh than they are in photos, a fact that often is intentional. True essences can’t be captured in photos, because we are much too complicated to be boiled down to a snapshot. So, while a picture may be worth a thousand words, there are probably ten thousand more that remain unknown.

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CREATIVE DIRECTION DERIC HAMER FEATURING VA R S H A S R I VA S TAVA , J O S H U A H I N N A N T & V Y N I Q U E S WA L K E R HAIR & MAKEUP S A U M YA C H U G H & S A M A N T H A B M O R S E PHOTOGRAPHY N A I R O B I J E A N N I T O N ST YLING D E E D E E O G B O G U, Z A C H A R Y T H O M A S & S A M A N T H A B M O R S E ART DIRECTION SOPHIE LINDEMANN & ERIN MCCARTHY

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I Don’t See Race WR I T T E N BY INA J O S EPH

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than anyone else?

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67 Color and race have very little to do with certain aspects of my personality; however, while growing up, others seemed to think the opposite. When listening to hip hop music in front of my predominately white friends, they would chime, “You’re too black for us.”

When using precocious vocabulary in a class discussion, my peers would jokingly whisper, “You’re way too white to be black.” Whether it was my music taste or my vocabulary, the color of my skin was always the determining factor. But how do they relate? Why does my use of the word “precocious” make me more or less “white” than anyone else? How do my hoop earrings make me more or less “black” than anyone else?

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Growing up surrounded by people of a different color — who I knew weren’t all that different from me — made me realize the role race plays in how we perceive one another. And it’s a role that I’m not ok with.

In 10th grade, color really became a point of contention after I befriended Kate, one of the only other black girls in my town.

Anyone who knew us individually probably never would have thought we were close friends: not because of our different friend groups or our opposite academic schedules, but largely because of the way we spoke. “Why aren’t you more like Kate?” other students would ask. “What do you mean?” I’d respond, “You know what I mean; Kate’s, like… actually black.” I never bothered to seek further elaboration. I had a pretty good idea of what they meant.

Kate embodied a lot of the characteristics associated with black culture: she loudly and confidently made her way down the halls, “wus good” and “yo” were a couple of her customary greetings, and she would throw up gang signs in jest. She was infamous for introducing new terms like “finna” and “ratchet” into her daily language and most notably she used the phrase “mah n***a” without a care in the world.

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I would never say the N-word. The way I expressed myself, the way I dressed, and the way I acted were never as “black” as Kate. In fact, I was “white washed,” according to the majority of my peers.

The key differences between Kate and I ultimately defined how our high school peers categorized the two of us — the “real” black girl vs. the “white” black girl.

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I never judged or criticized Kate for the way she carried herself, but I also avoided the type of slang she used in order to avoid confirming stereotypes.

Coming from an old-fashioned, Haitian-American household, the majority of the traits and behaviors accompanying the black paradigm didn’t even applied to me. I felt foolish acting or dressing the way people

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way people judge me — equating character to color — become the way I judge others. This is why I don’t see race.

“I am a black woman PIXEL

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Black English Vernacular, BEV, is a real dialect and certain styles within black culture have legitimate cultural roots; however, it is entirely inaccurate to assign BEV or some fashion accessory as the universal identifier for “real” black people. BEV itself is not a result of skin color, nor is my preference for hoop earrings. So why do society and mainstream media associate these cultural effects to race? They shouldn’t. It is my family’s heritage and personal values that shape who I am, how I speak, and what I believe — not the amount of melanin I happen to produce. Language and fashion are just the tip of the iceberg — food, music, and hobbies shouldn’t be classified as racial constructs either. And yet, being one of two black girls in a class of 248, these are all of the things that people constantly used to determine whether or not I was truly “black.”

This infuriated me. I never fit any of the molds or conventions society constructed for black people, so I never understood why those molds were so prevalent in how people construed my personality.

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PIXEL

I recognize that our current political climate makes maintaining dialogue about race and equal representation more important than ever, but racial stereotypes and misconceptions about race seriously detract from having the constructive dialogue we need. It’s the continual typecasting present in our society that has encouraged me to not see race.

who is unashamed of my race”

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I am a black woman who is unashamed of my race, and that is why I will not allow my blackness to be quantifiable. The color of my skin cannot be used to decide who I should be, what I should wear, or what I should like. But if that’s what the meaning of “race” has become, then I choose not to see race.

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REF REFLECT

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Make the Sidewalk Your Catwalk REFLECT

WR I T T EN BY E M M A W E L B O R N

You are strutting down the sidewalks of the city, pass a window and shamelessly glance over to check out how you look.

Sometimes you smile and confidently go on your way, other times you notice how your thighs might look a little too thick in those jeans and shyly put your head down. You might even pass a girl wearing the same top you bought yesterday and give her a smile of approval. We see our reflections daily in mirrors, windows and even in other people. We see who we are, who we think we are or who we want to be. How do we decide which is the real thing; who are you, really? How should we perceive these reflections? In today’s society, we are constantly being told we are either too basic or too different. Who is to say either of these things are bad?

Without this clarity, our perceptions of ourselves can easily become distorted. In reality, the way we dress reflects who we are. So how can we convert this simple action into confidence? Wearing these reflections could represent us overcoming our distorted self-perceptions.

We all know the uncomfortable feeling that occurs when wearing something we don’t feel accentuates who we are. We wonder why certain people can pull off styles we wish we could rock, so while getting dressed we settle for what we know will be “safe” to wear. We wonder if we should eat less, put on more makeup or cover up more. But deciding what to wear has the potential to be so much fun. Though we may get into a routine of grabbing the same pullover every other day, what we wear is still our own way of expressing ourselves.

Some days you wear all black and throw on your leather bomber and feel like you can conquer anything, or you slip on jeans and a cozy sweater and feel a sense of femininity and warmth. Both of these feelings are good, and both of them are you. Why stick to one look or one identity? Maybe you change your look every day of the week, and represent a different part of your personality with each outfit, or maybe you dress depending on who you are with.

There is a common misconception that we have to be one certain way to fit the criteria of others.

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Fashion isn’t just what you think is trendy at the moment, it is what embodies you.

Use it to regain your confidence. Fashion has the ability to make global impacts, so allow it to impact you as well.

While our clothes may just be a few pieces of materials sewn together and styles may change with the seasons, what we wear still has the ability to empower us and those surrounding us. When we are confident in our own skin, we can inspire others to be the same. This starts with letting yourself shine through your outfits and not being afraid to change it up or break the rules.

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Reflections can make or break you, why not let them empower you? Strut the street like it’s the runway, let the window be your mirror and smile at yourself as you walk by. Those reflections have the ability to represent confidence, strength and style. Let them.

The world of fashion has so much to offer society, take it and run with it.

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FOR M CREATIVE DIRECTION EUNIE JANG & DERIC HAMER FEATURING M I O L A N I G R E N I E R , J O S H U A H I N N A N T, C R I S T O F E R B O R G H E S E , S A R A H W U & TA I B A Z A H I R HAIR & MAKEUP N I C O L E H A F T E L & S A M A N T H A B M O R S E PHOTOGRAPHY S A R A H S I L B I G E R S T Y L I N G L E X I E B O W M A N, S A M A N T H A B M O R S E PHOTOGRAPHY EDITOR V I O L E T G I D D I N G S ART DIRECTOR E U N I E J A N G & E R I N M C C A R T H Y

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Proud To Be Me WRIT TEN BY L O G A N C A R T E R

I am proud to be me. freakishly tall.

I dress weird.

I have too many facial piercings.

I am too flamboyant.

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To many, I am

I come from the Los Angeles area, where I have found the celebration of peoples’ differences in places like Venice Beach, Hollywood Boulevard, and West Hollywood. I grew up around people who had wildly colored hair and who were riddled with piercings. I went to grade school with kids who were raised by same-sex couples. My neighbors were black, white, brown, gay, straight, married, single, artists, lawyers, tatted up and strung out, and I never viewed any of them as outsiders. Despite this diversity, I still faced a lot of push-back from my peers in my youth. But by the time I transferred to Boston University in the fall of 2016, I felt secure in knowing and loving who I was. When I came to New England as a 20-year-old, 6’8” queer man with a nose ring, green-framed glasses, and an affinity for wearing brightly colored clothes, I expected my eccentricities to be embraced here just as they grew to be on the west coast.

I was wrong.

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Unfortunately, I do not fit into the archetype that New England cyclically swallows and spits back out into the rest of the world; wealthy, white, homogeneous, heteronormative, and preppy cisgendered people who are strictly invested in their own success.

In Boston, I learned that I am a minority.

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It took quite a while for me to fully embrace my eccentricities as I was growing up. However, once I learned to fully accept and embrace myself, I found that other like-minded individuals gravitated to me. I found people who appreciated my differences, respected my differences, and had their own unique and defining qualities.

In Boston, I learned that I have a lot to fight for. In Boston, I am learning how

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important it is for me to retain my eccentricities.

I am working to keep my freak flag

CONFORM

flown at full mast, despite

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facing closed mindedness.

“Faggot!”

“What the fuck are you wearing?”

“Fuck you, fag.”

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CONFORM

114 When Boston has tried to push me to conform, I have pushed back. Since coming here in August, I decided to pierce my ears, and quickly after that, I got my septum pierced.

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more pinks and purples.

I refuse to conform.

I will not blend in.

Like many, when I was in middle school, I wanted nothing more than to blend in. I insisted that I was heterosexual, I followed trends, and I tried assimilating with the “normal”’ kids.

CONFORM

As a 6’3” closeted, self-hating 12-year-old, these assimilation efforts were destined to fail.

Once I accepted that I was never going to blend in, I said “fuck” it and worked to embrace my uniqueness.

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The east coast managed to make me feel lost for a while, and I started reverting back to the thought processes of that closeted, gangly, flamboyant and self-hating 12-year-old.

I needed to perform a mental inventory.

Reassess my inner-workings.

Reestablish the demeanor that made me, me.

thats what matters.

CONFORM

116 I love my differences, and Fuck anyone who doesn’t ee me the same.

Walking down the street in Boston, walking into a classroom, walking into a cafe, I can feel the eyes catch my lanky figure duck through the doorway. This isn’t new to me. I draw attention because of my stature; I get that.

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117 But here, it’s different.

These eyes don’t peek then look away.

These eyes gawk.

These eyes judge.

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The qualities that set me apart from the crowd of rude and rushing New Englanders do not get understood. They label me as a minority.

Because I am something that

I (naively) never viewed myself as a minority, until I moved to Boston.

they are not used

Walking into a room full of peers, I feel that I immediately get dismissed as a minority. An enigma. An archetype of something that people want me to be, because I wear pink, or because I have facial piercings.

to. Because I am me and not them.

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Instead of succumbing to this judgement and conforming to the archetype that would satisfy the norm, I have decided to fight back against it.

I will be weird.

I will dress funny.

I will modify my body.

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I will be different than everyone else.

And despite my appearance,

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I will still be a kind soul.

I will be friendly to strangers.

I will achieve success.

I will break the stereotypes.

Because I Am Me And I love me.

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TRA$H BARBIE

TRA$H BARBIE CREATIVE DIRECTION CARLI SCHMIDT FEATURING S E A N M O O R E , B R A D L E Y N O B L E , J A C K B R I C K N E R , A N N A H O G A N, L E X I E B O W M A N & G I A S PA R G O HAIR & MAKEUP S AVA N N A TAVA K O L I & C A R L I S C H M I D T PHOTOGRAPHY S A M B R O O K S & R H I A N N O N J E S E L O N I S S T Y L I N G M O L LY G L A S S , M I K A E L A D A N I E L L E T Y, Z A C H A R Y T H O M A S , TAT YA N A K H A S H O G G I, P H O E B E L E U N G & L O G A N C A R T E R PHOTOGRAPHY EDITOR S A U M YA C H U G H ART DIRECTOR S A R A H C A M P B E L L & E R I N M C C A R T H Y

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The Lie of The Party

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WR I T T EN BY A M A N D A G R E E N I D G E

Saturday evening. City streets. The clack of women’s heels. Irrespective of the weather or time of the year, the wearers of these high-rise shoes have a certain glamour about them. Mildly inebriated, clad in tight body-con dresses and adorned with a dash of makeup, they invite looks of envy, because everyone who sees them knows they are headed to a party. But the looks of these women are not solely what garners interest, it’s what the women represent; the conformity of party culture.

situation into something bearable. The alcohol provides a sheen, however, there are nights when it wears off and you are forced to deal with the reality that you aren’t actually having a good time. Upon realizing this, a natural first instinct is to leave, but looming peer pressure can create a sense of paralysis.

Despite these general truths about parties, the off chance that you’ll go out and have the time of your life is enough incentive to return the next Parties have always been central to college life. time you get the obligatory Thursday night text.

Like all other things in this country, they are In addition to this enticement, everyone that marketed well, persuading you to think in the heads out to a party goes into it with different following way: “You should be having fun. Young motivations. Very often, it’s to blow off steam, to people love clubs. A party is the place to be.” hookup with someone, to distract yourself from This idea is further reinforced by well-meaning life’s problems or even to escape pure boredom. friends, strangers and social media. But is stand- The ulterior motives are always there, and the ing in a room full of sweaty strangers, too drunk party becomes a convenient opportunity to to function and nursing a nasty hangover the achieve them. next day, really all that fun and glamorous?

I asked a few Off The Cuff. models about their The party scene presents the well-orchestrated wildest nights out, and the motivations that illusion that everyone is having the time of their fueled their experiences. The majority had good lives. But what I see are girls in heels who are memories, but regardless of the night’s outcome, dying to sit down, guys dying to talk to the girls each evening began with specific stimuli that without seeming creepy, and everyone else drink- ranged from fitting in at work to celebrating ing to turn an otherwise uncomfortable social a big win. For Bradley, the celebrations for a

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soccer match he played in Spain were kicked off when all of his teammates got tattoos and solicited prostitutes (activities which he took no part in). One of Anna’s wildest nights took place on Halloween, where over-the-top celebration is almost mandatory. For Lexie, most nights out simply begin with the urge to dance with friends.

Speaking with the OTC models provided other psychological insights into parties, showing that love or hate for party culture truly varies from person to person.

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The verdict is out: when the party’s over, everyone leaves with a different memory of the same night. Some truly have the time of their lives, while some are hardly impressed by how their night has unfolded. Neither outlook is right or wrong, but both are valid. Despite what social conditioning would like you to believe, real fun isn’t created by peer pressure and booze. Instead, it’s created by being fully immersed in a joyful experience of your choosing. A party can be that experience for certain individuals, but not for all.

Out of the four models I interviewed, only one, So, when Saturday night comes around, don’t Anna, felt little enthusiasm for the party scene be afraid to look for alternatives to heading stating, “I am not a big drinker or partier.” How- out in heels. ever, most of the models maintained that the parties were generally enjoyable and recounted several fun experiences from clubs, frat houses and foreign countries. Lexie describes the Boston party scene as very eclectic, “I think it’s fun and definitely diverse. I feel like there’s a party scene for every type of person in Boston.” Jack, another model, believes that the party experience transcends borders. He recalls how an initially awkward work party turned into a good time, complemented by a rooftop view of the city of London.

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The Real Cost of Couture WR I T T E N BY I S A I A H T H A R A N

Many issues within the fashion industry have been discussed ad nauseum. Everyone has heard about the absurdity of sweatshops, the rampant sexism and racism, and the horrific treatment of animals by both high and low-end brands.

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As a bleeding-heart progressive, I always try to educate myself on how I can look my best while doing the least damage environmentally. In doing so, I noticed one issue which was conspicuously untouched — sustainability within fashion.

Fast fashion’s impact on its workers is well documented; however, its impact on the world is lesser known. If you asked the average person what the world’s second most polluting industry is, you would probably get a smattering of guesses: big oil, manufacturing, and the automotive industry, most likely. These answers are all wrong — it’s the fashion industry.

The terrors this industry wreaks on the environment starts long before yarn hits the spool. Cotton is the most used form of fiber for clothing, as it is easy to harvest, to dye and is incredibly cheap. Yet, cotton is also the most high maintenance when compared to nearly every other plant. A quarter of the world’s insecticide is necessary to produce the current output of cotton, as well as a truly colossal amount of water.

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Some rivers in Indonesia have

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all but entirely disappeared.

FEATURING : TOPFEELING, Urban Outfitters, Forever21

Surprisingly, when compared to most synthetic fibers (which are made from petroleum rather than produced naturally) cotton is actually one of the more environmentally-friendly threads.

Synthetic fibers such as polyester and nylon are especially harmful to the environment since massive amounts of oil are needed to create these fibers. As well, they are often shipped multiple times during production, which further generates large amounts of carbon dioxide pollution and other greenhouse gasses.

After the creation of these threads, the fibers need to be dyed. The materials used in dyes are often toxic, if left untreated, and are usually dumped directly into local water sources. Some rivers in Indonesia have been so polluted by the dying industry that the water can cause chemical burns and the local animal life has all but entirely disappeared.

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Even worse, these fibers continue to harm the environment after being purchased. When you wash a nylon or polyester piece of clothing, threads unravel and eventually reach the ocean, contributing to the industry’s huge amount of waste that is dumped into the sea each year.

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The final factor of the fashion industry’s assault on the environment is transportation. In each of these steps, the materials must be transported before being processed, then transported to a manufacturing facility, then to a dying facility before finally being transported to the consumer.

The amount of greenhouse gasses generated by the transportation of clothes and their materials is incalculable and has a lasting impact on the environment.

Environmentally unconcerned trends are booming more than ever, and while companies like H&M publicly espouse green fashion, these statements appear to simply be fronts for selling more product with no real proof of change. A large-scale change within the second most dangerous industry to our future seems impossible, given the current size and state of the fashion industry, but a change is necessary and would have a monumental impact on the state of our earth and environment. So next time you’re in Forever21 buying a cute, trendy top to wear for the party that night (and probably never again), take a moment and think about the lasting impact that impulse buy will have on our future.

When you wash a nylon or polyester piece of clothing, threads unravel and eventually

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reach the ocean, contribting to the industries huge amount of waste that is dumped into the sea each year.

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DEMON CREATIVE DIRECTION M A D E L I N E C A R P E N T I E R E & L E X I E B O W M A N FEATURING J A N N A C O L L I N S , K A I T L I N T S A I & R I S A R I C E HAIR & MAKEUP M I L I H U R TA D O & N I K O C O H E N PHOTOGRAPHY H A L E Y A B R A M , C A M E R O N C O O P E R , N ATA L L I E M A S H I A N & P I L A R O ’ C O N N O R S T Y L I N G L E X I E B O W M A N, N ATA L L I E M A S H I A N, K A R E N A N & P H O E B E L E U N G P HOTOGRAPHY EDITOR A L E X VA R R I C H I O ART DIRECTOR P I L A R O ’ C O N N O R , S O P H I E L I N D E M A N N & E R I N M C C A R T H Y

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issue 08 contributors EDITOR IN CHIEF Carli Schmidt Erin McCarthy S E N I O R A R T D I R E C T O R | D E S I G N E R JUNIOR ART DIRECTOR | DESIGNER Sophie Lindemann C R E AT I V E D I R E C T O R Madeline Carpentiere C R E AT I V E D I R E C T O R Deric Hamer Samantha Kelley M A N A G I N G E D I T O R Margot Menestrot D I R E C T O R O F M A R K E T I N G | P R EXECUTIVE DIRECTOR OF FINANCE & BRAND OUTREACH Olivia Simonson

David Neary D I R E C T O R O F F I N A N C E Ella Tatum D I R E C T O R O F B R A N D O U T R E A C H Eunie Jang W E B E D I T O R PHOTOGRAPHY DIRECTOR Samantha B Morse

SPECIAL THANKS TO

S T U D E N T S A C T I V I T Y O F F I C E | A L L O C AT I O N S B O A R D B O S T O N U N I V E R S I T Y | T O N I P E P E & T H E P H O T O G R A P H Y D E PA R T M E N T AT T H E C O L L E G E O F F I N E A R T S | J E F F R E Y PAT R I C K , L E A H H O F F M A N , & D A N H O AT S T E V E N A L A N N E W B U R Y S T R E E T | C O L L E E N M C G I N T Y | A L P H A G R A P H I C S B O S T O N | GLOSSIER | COLOUR POP |HARD CANDY COSMETICS | REAL TECHNIQUES

* T H I S M A G A Z I N E I S PA R T I A L LY F U N D E D B Y Y O U R U N D E R G R A D U AT E S T U D E N T F E E

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Co-Photography Director

L A U R E N M O G H AV E M

Illustrators S O P H I E L I N D E M A N N , S A U M YA C H U G H , E R I N M C C A R T H Y & A N A R I N A L D I Cover Model

L A U R E N M O G H AV E M

Photographers

A L I S O N S U, A L L I C A U L F I E L D, C A M E R O N C O O P E R , H A L E Y A B R A M

I R E N E Z E N G . N ATA L I E C A R R O L L , N A I R O B I J E A N N I T O N , S A M B R O O K S

R H I A N N O N J E S E L O N I S , S A R A H S I L B I G E R & L A U R E N M O G H AV E M

Photography Editors E R I N M C C A R T H Y, L A U R E N M O G H AV E M , S O P H I E L I N D E M A N N

Art Direction Team

A L E X VA R R A C H I O, V I O L E T G I D D I N G S & S A U M YA C H U G H

D O R I A N D R E Y F U S S , E U N I E J A N G , I VA N N A L I N , M A D I S O N B R I N S E R

N A O M I T E N E N I N I , P I L A R O ’ C O N N O R , N I C O L E K WA K , S A R A H C A M P B E L L

& A N A R I N A L D I

Hair & Makeup

M I L I H U R TA D O, N I C O L E H A F T E L , N I KO C O H E N , S A U M YA C H U G H

Writers & Copy Editors

S AVA N N A TAVA KO L I , S A M A N T H A B M O R S E & M E G A N G O W E N A M A N D A G R E E N I D G E , A M E L I A R O S E N B E R G , A N N A B A R R Y, B E AT R I C E

S C L A PA R I , B R I E L L E FA R R U G G I O, B R I T TA N Y K I N C H , C A R O L I N E H I T E S M A N

C H L O E H U D S O N , D E E A N Y E O H , D E E D E E O G B O G U, D O R A A G A L I , E M M A

W E L B O R N , E M M A S E S L O W S K Y, I S A B E L L E D AV I S , I S A I A H T H A R A N ,

J A Q U E L I N E M A N N I N G , J A D E F I S H E R , J A H N AV I D E S O U S A , K A R I S H M A

ARORA, KUNAL KHUNGER, MADISON OLIVER, MICHELLE SANTIAGO-CORTES

M I K A E L A D A N I E L L E T Y, N O L A S C H WA L B , O L E Y I N K A FA S E H U N , R E G I N A

R A P H A E L , R U B Y K I N G , TA B I A Z A H I R , T E R E S A B R O C K M O N E O, T I F FA N I E H U I E

V I N A M R E K A S A N A A , L U C I A T O N E L L I , S A R A H A R M E N T, Y U N A H A N , A R I E L L A

J AVA H E R I , S O F I KO P I P I A , I N A J O S E P H , M AYA R E Y E S & L O G A N C A R T E R

Finance & Brand Outreach

YA S M I N Y O U N C E , G A R B I E L L E F O R M A N , J I N A R I FA I , L U C I A T O N E L L I

M A G G I E C H E N G , N I C O L E L I E W, K E L S E Y L E J U E Z , N I C O L E G U E N O U N

N I S A TA R L A C I , A L I S O N S U & A M Y Y I

Stylists

D E E D E E O G B O G U, J A M E S K R O L E W S K I , J A N N A C O L L I N S , K A R E N A N

K E N D A L L C A P U T O, L E X I E B O W M A N , L I Z Z Y H E R Z O G , M I K A E L A D A N I E L L E T Y

M O L LY G L A S S , N ATA L L I E M A S H I A N , P H O E B E L E U N G , R A C H A E L A N G E L O F F

SAMANTHA B MORSE, ZOE NOCHLIN, ZACHARY THOMAS & JESSICA MILLER

Events & PR

ALICIA SHAMJI, BAO HAN NGUYEN, COLE KERRIGAN, JILLIAN FURCHAK

G A B R I E L L A P L O T K I N & S H R AV YA R A O

Videographers

S A R A H C A M P B E L L , J A M I E F E R G U S O N , S A R A H S T I PA N O W I C H & S E L E N T E R Z I

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