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SPRING 2018 WORKING WOMEN

ISSUE 1

QUART Z


QUARTZ


KELSEY FERGUSON


ADRIENNE AUTEN

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QUARTZ


EDITOR’S NOTE

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DOMINIC DOMINICPALARCHIO PALARCHIO


TEAM

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TEAM

QUARTZ

WE LOOKIN FOR U Quartz Quarterly is currently expanding and looking for the dream editorial team, creative submissions, and powerful voices. Photographers, writers, designers, and artists - this means you! Say hi: quartzquarterly@gmail.com

Quartz is a quarterly publication geared towards redefining society’s definitions of beauty, fashion, love, and well being. Featuring the visions and voices of influential young artists specializing in a variety of mediums, this platform is a visual diary digging up the imperfect facets of life and projecting their unique energies.

EDITOR-IN-CHIEF Christina Stoever

COPYRIGHT Quartz Quarterly is an independent quarterly magazine founded by Christina Stoever and published by Quartz Quarterly Publishing.

KEEP IN TOUCH quartzquarterly@gmail.com www.quartzquarterly.xyz IG @quartz.xyz

© 2018 Quartz Quarterly, the authors and artists.

MANAGING EDITOR Miranda Clark PRINTED BY Mel Printing Group, LLC. PRINT + ONLINE ADVERTISING quartzquarterly@gmail.com

FRONT COVER Photographer Sophia Aquino Art Director Christina Stoever Lighting Design Al Hall 1st Assistant Emily Galvin Set Design Sam Audino Talent Working Women Wardrobe Stylist Christina Tung Hair Stylist Nigella Miller Makeup Artist Alana Wright


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CLEAR 44 78 MILKY

106

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SMOKY

6 TEAM 8 CONTRIBUTORS + SUBMISSIONS 11 EDITOR’S NOTE

24 DAY IN THE LIFE with Ellis Clare

70 DIARY by Marisa Chafetz

108 SPRING FORWARD by Katie Borrazzo

34 THYSELF by Kyla Milberger

80 COLLATERAL by Parker Woods

118 HOW DO U DO IT? by Christina Stoever

46 WORKING WOMEN NYC by Working Women x Sophia Aquino

88 STATE OF THE PSYCHE by Marisa Kalil-Barrino

124 A LITTLE GLITTER NEVER HURT ANYONE by Emilka x Utin

62 STILLNESS IS THE MOVE featuring Robyn Breen, by Taylor Reynolds

90 PARANG WALA by Lancer Casem 98 SEVENTY-TWO by Natasha Fortson

132 COMING OF AGE by Dominic Palarchio

CONTENTS

14 東京 (Tokyo) by John Bain Griffith

33 SEND NUDES by Naomi Ning


QTZ 8 CONTRIBUTORS

JOHN GRIFFITH Tokyo, pg. 14 @johnbaingriffith

MARISA CHAFETZ Diary, pg. 70 @marisachafetz

CHRISTINA STOEVER How Do U Do It, pg. 118 @xtina_stoever

ELLIS CLARE Day in the Life, pg. 24 @ellisclare

PARKER WOODS Collateral, pg. 80 @brasshands

EMILKA A Little Glitter Never Hurt Anyone, pg. 124 @emilka.jpg

KYLA MILBERGER Thyself, pg. 34 @kyla_milberger

LANCER CASEM Parang Wala, pg. 90 @lansuh

DOMINIC PALARCHIO Coming of Age, pg. 5, 132 @dominicpalarchio

SOPHIA AQUINO Working Women, pg. 46 @sophiaaquinostudio

NATASHA FORTSON Seventy - two, pg. 98 @mii.arte

TAYLOR REYNOLDS Stillness is the Move, pg. 62 @taylurreyyn

KATIE BORRAZZO Spring Forward, pg. 108 @katieborrazzo

SUBMISSIONS

ADRIENNE AUTEN Contrapposto, pg. 2 @autenphoto ASUKA LIN Mother Spider Stabs with Love, pg. 10 @a______suka

NAOMI NING Touching Myself, pg.32; Send Me Nudes, pg. 33 @nomiining SHELBY SEAY Intuition, pg. 44 @shelbyseay

KAYLEIGH WATERMAN Untitled, pg. 12 @kayleighmw

AARON BARTON Somewhere After Mardi Gras, pg. 78 @aaronbarton_

MADELINE KIDD Lips, Lips, Lips Baby, pg. 22 @maddie.almighty

KELSEY FERGUSON Crazy Eyes, pg. 9; Pink Lady, pg. 137 @unit65

OLIVIA BEELBY Snip, pg. 89 @orb.illustration RACHEL THOMAS Vintage Decadance, pg. 106 @implied_wisdom JAC BLADOW Clementine Series, pgs. 130, 31 @jac_doves


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KELSEY FERGUSON EDITOR’S NOTE


ASUKA LIN

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SPR I N G 20 1 8

I’m sitting at the airport waiting to board a flight to New York ­– it’s finals week and next week is the last of my senior year of college. I’ve been passively watching my life transform at an incredibly fast pace since 2018 began, yet I’ve somehow found solace in this awkward state of limbo. Although this period of my life is getting chopped and screwed by the natural course of time, I’ve learned to simply accept everything that comes at me with no resistance. I think about the constant that is change as I’m watching my peers’ and I’s 20-something lives flash before our eyes during this insane transitional period. And through this, I’ve been able to (slowly) comprehend how essential it is to wholeheartedly welcome the gravity of change and impermanence. QTZ 11

As I’ve been sitting with this InDesign file for the past four months, I’ve watched Quartz grow from a few thousand clicks, into a creation containing incredibly powerful and unique voices and visions of so many artists I so greatly admire. Quartz was envisioned to be a manifesto of sorts; intended to recharge and revitalize, to exist freely as an imperfect entity amongst so many others, and to ultimately present the unique and real facets of art, culture and people. And although the final product remains susceptible to dents, folds, stains and tears, it still remains true to everything that went into it from the get-go. Isn’t the universalness of ephemerality kind of refreshing? Issue one focuses on regrowth, balance, energy, and all of the unique ways we interpret these forces in our lives. xo Christina

EDITOR’S NOTE


KAYLEIGH WATERMAN

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QUARTZ

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ROSE

We mailed a disposable camera to Ellis Clare, and in return she lent us her romantic eye for New York City. John Griffith took us with him to Tokyo, Japan, capturing the beauty of the city landscapes alongside his lover. Moving from the people and places that we fall in love with, Kyla Milberger takes us on a personal journey in which she reclaims her own selflove.

JUST LOVELY


TOKYO

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東京

photography JOHN BAIN GRIFFITH model KARA GALL


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EDITOR’S NOTE


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TOKYO

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JOHN GRIFFITH


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MADELINE KIDD


photography Ellis Clare

DAY IN THE LIFE QTZ 24


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ELLIS CLARE


DAY IN THE LIFE

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ELLIS CLARE


DAY IN THE LIFE

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ELLIS CLARE


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ELLIS CLARE


MODERN LUV

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SEND ME NUDES

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Illustration + Words NAOMI NING

idea of being comfortable in your sexuality. Exploring these themes in my work shows me how far I have come in my own personal journey with body acceptance.

NAOMI NING

Beauty and sexuality are strong themes in my art. Growing up in a conservative Asian country made me embarrassed about topics relating to the body. I viewed sex and nudity as shameful things. It took me a long time to become comfortable in my own skin, which is why I want my art to express the beauty of the female form and the


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EDITOR’S NOTE

THYSELF photography + words Kyla Milberger

“The integrity I once held amongst my judgment had disappeared. Could this be just a phase? As the seconds pass I’m starting to think not, and as the seconds passed even further I’m beginning to enjoy the thought. Does beauty only exist if recognized? If so, can we resurrect the ugly? Do we single-handedly have the ability to break the unfixable? Can we adopt the unknown? Have we not evolved enough to earn a new sense? I want to feel. Not “feel” as in “touch”, but really feel. I want to look someone in the eyes and know every intention of theirs. I demand to see all genuine and impure. At least we’ll be feeling truths. Have I arrived yet?” - Mod Sun


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THYSELF

Self-reflection, March 13th, 2018: I’ve started to become aware of this slow progression of myself becoming more comfortable with the idea of being on my own. I feel that at this very moment everything is going to work out exactly how it should. It feels as though I am going down the right path and having certain realizations at the right times that are necessary to my growth as an individual. I’ve started to think more about the ways I can truly be completely independent and to let things come as they come. Another thing I am realizing is to have more self-respect and confidence in myself and who I am. I only want to surround myself with positive, motivated, and influential people. Something I’d like to focus more on is getting better at letting things go and to be more accepting as well as embrace

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the changes I face through my life. I want to be okay with the idea and feeling of “it’s okay to not always be comfortable”, and to grow from those uncomfortable feelings. I have the power to make what I want happen. I have the opportunity that a lot of others don’t get and I refuse to waste that beautiful gift of opportunity. I will make a difference and put my mark on this world. Love and passion are a very powerful thing. One of my favorite photographers Mary Ellen Mark, talks about change, and how change is cumulative. It doesn’t just happen, it takes more then just one of us to bring about profound transformation. I find Mary Ellen Mark’s idea to be incredibly influential, and vital to think about in our present world. This very idea is talked about in the article, Habits of

the Heart. “We have never been, and still are not, a collection of private individuals who except for a conscious contract to create a minimal government, have nothing in common. Our lives make sense in a thousand ways, most of which we are unaware of, because of traditions that are centuries, if not millennia, old. It is these traditions that help us to know that it does make a difference who we are and how we treat one another” (Habits of the Heart, The Culture of Coherence). All of us are connected in one way or another. We are all humans, we are living in this world, and we are all apart of a bigger whole. We are all having the human experience. This idea of connectivity is very intriguing to me, I’ve realized that once you become aware of these connections, you cannot stop connecting the dots between everything and everyone.


in my car, a safe space for me to have deep thoughts, I thought about this and my current situation. My thoughts were sort of all over the place. What are we doing? Why do I feel so unhappy, unsatisfied, and scared to let it go? It was in that very moment I realized it was me. I am the one holding my own self back- from healing, from moving forward, from letting go. I had to bring myself back to the idea of: its okay to be uncomfortable and to accept that as is, until it no longer feels uncomfortable.

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Just yesterday I was driving in my car on my way to hang out with an old friend when I had an epiphany. About six months ago my boyfriend and I’s relationship of over three years came to a splitting point, for reasons we both mutually agreed on. Half a year of time has passed and I feel like I have learned a tremendous amount about who I am as an individual, yet in many ways I have stayed stuck in the same place. I haven’t let myself move forward and let go of what we had that we no longer have anymore. So when I was driving

KYLA MILBERGER


THYSELF

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These feelings I was having brought me back to when I was just a child, when my parents split up. My brothers and I had to spend half the time with our dad and half the time with our mom. We constantly were on the move, going back and forth from house to house. There was no sense of home or comfortable space for me to just settle. This caused me to have a lot of anxiety, specifically separation anxiety, from my parents when I wasn’t with one of them. These feelings of anxiety seem to connect with the feelings I have of letting go. I’ve realized that the reason I continue to go back to something that isn’t anymore is because I’m seeking to fill that void to feel the sense of home. In reality, I need to find that sense of home within my own self in order to be completely happy. “Enjoy when the universe sends you its gifts- a lover, some money, a good job. But know the ultimate key to happiness lies not in external things, but within you. Feel all your feelings. Learn to heal yourself ” (Journey to the Heart). I find that my life has had a lot of tragedy thus far, where I have had to face extremely hard situations at a young age. But these things I have had to face in my life are things that have also shaped me into the individual that I have become and am still becoming. I feel thankful for the opportunities I have been presented with, and I feel like I am truly waking up and staying fully present in my life because of having gown through these experiences.


about experiences we have that are unexplainable, that unless one has actually experienced this experience will they understand. The moment I realized I was present in the very moment of my sadness, everything felt right in a weird and unexplainable way - as if the stars were aligning as they should, like I was supposed to have those very thoughts when I had them. “You know, there’s a place we all inhabit, but we don’t much think about it, we’re scarcely conscious of it, and it lasts for less then a minute a day. It’s in the morning, for most of us. It’s that time, those few seconds when we’re coming out of sleep but we’re not really awake yet. For those few seconds we’re something more primitive than what we are about to become. We have just slept the sleep of our most distant ancestors, and something of them and their world still clings to us. For those few moments we are unformed, uncivilized. We are not the people we know as ourselves, but

creatures more in tune with a tree than a keyboard. We are untitled, unnamed, natural, suspended, between was and will be. The tadpole before the frog, the worm before the butterfly. We are, for a few brief moments, anything and everything we could be” (Jerry Spinelli). This quote really resonates with me because it goes back to these unexplainable senses that all of us seem to experience in one way or another.

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A few weeks back I had a very interesting experience where I felt completely present in the very moment I was in. Once again I was in my car, deeply thinking about this sadness I was feeling. I was sobbing, but I let myself be consumed by the sadness I felt. And then in that very moment, I realized that I was looking at everything wrong. These feelings I was having weren’t necessarily enjoyable, but I realized that it was okay to let myself really feel as sad as I did. In fact it was normal, it was part of this human experience. Thinking about my situation in this way made me feel a little happier because I became aware of how lucky I am to even be able to feel the way I do. It reminded me that not everyone gets to have the opportunity to feel. This very experience I had of becoming keenly aware and present in that exact moment of letting myself really feel how I felt makes me think of the book called, Extraordinary Knowing. This book talks

KYLA MILBERGER


EDITOR’S NOTE

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This is your body, your emotions, your thoughts and your manifestations. No one controls anything about you except you. Take responsibility and use this to your advantage. Yesterday, I was in the car with my mom and we were talking about how nobody really has any control over anything and I found this idea to be weirdly comforting. I mean the only thing we really have solid control over are the decisions we make for ourselves. We don’t have control over what others do or not do just as we don’t have control over whether it’s

going to snow or rain tomorrow. But we do have the control on how we react to that snow or rain, to that person or situation. This idea comforts me because it truly allows me to let go of the things I don’t have control over. It forces me to only worry about my own actions, my own thoughts, and my own decisions. Everything really is just a manifestation of what you make it because it is your life and no one else’s. “Sometimes, the road ahead is blocked, but clearing the way becomes part of our journey. Learn to tell when it’s time to let go, to surrender, to search for another road, a different path, another dream. But also learn to tell when

it’s time to move forward, through obstacles if need be, because the dream is electric, charged by divine energy and love”. - Melody Beattie, from Journey to the Heart.

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Self-Reflection, January 11th, 2018:

KYLA MILBERGER


SHELBY SEAY

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QUARTZ

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CLEAR

Through the strong bonds that syncronise Working Women so effortlessly, the deejay collective bring their contagiously bright energies to the studio with Sophia Aquino. From the iconic yet versatile perspective of Taylor Reynolds, we reach for more with movement instructor, Robyn Breen. Blooming and growing with Marisa Chafetz, we are lent an intimate glimpse into her Southern USA 2016 - 17 photo diary.

CLEARLY


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WORKING WOMEN NYC

photography Sophia Aquino art director Christina Stoever lighting design Al Hall 1st assistant Emily Galvin set design Sam Audino wardrobe stylist Christina Tung makeup artist Alana Wright hair Nigella Miller interview, words + talent Working Women


(Left to right) TOP PH5. PANTS THII. DRESS Viva Aviva. PANTS Model’s own. SHOES Maryam Nassir Zadeh. TOP Dama. PANTS Model’s own. TOP + PANTS Nika Tang.


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Working Women: How do imperfections inform your work? Tanya: Working Women felt so crucial because we were each seeking an emotional venue from which to explore and practice DJing—to mix and mess up and learn in a very visible, vulnerable way—without the pressure of perfection. Having each other has allowed us to grow into strong & versatile DJs, and now the imperfections we’re navigating together are more nuanced and logistical, the inevitable aspects of the collaborative artistic performance narrative. We’re like a band. It’s messy and amazing. It’s teaching me how to live my life with compassion and patience. Nina: For me, embracing imperfections is embracing multiple ways of being, which is a huge part of the WW practice - being more than one body, voice, emotion, story, all at once. Sometimes the different parts of ourselves feel like they're in conflict. But when we accept the coexistence of multiple we're able to more fully express ourselves and connect with each other. Imperfection is empathy and understanding.

WW has really allowed me/us to process mistakes in real time and with peers, so that they seem less overpowering than they do when you’re alone. It’s funny how much easier it is to forgive others for their imperfections than it is to forgive ourselves for our own! I constantly run into that in a WW setting, where someone will feel less than 100% about something and I’ll have been totally blown away. It’s very difficult to do that for yourself, but with a little bit of practice hopefully it becomes easier. Ashlyn: Sometimes wielding various complicated states is useful in coming to music in ways that are exciting, and sometimes it flops! It’s important to realize that we are mortal and make mistakes, but for me it has become important to be accountable and creative with uncertainty and allowing that space for all of us. WW: Can you remember / explain your very first understanding of Deejaying? Can you remember when you first felt compelled to try it? T: I didn’t grow up with a concept of deejaying. Maybe if I’d been born even 5 years earlier or come of age in a slightly less whitebread zone. I saw DJs on TV but they seemed goofy and retro to me. In this YouTube-struck pre-dance-music-revival early 2000s New England suburb I think selector style DJing was indeed perceived as more past than future. It wasn’t until I went to college in Ohio that I actually saw DJs mixing records. I got to see artists like Omar-S and Pearson Sound and Aurora Halal early on - a whole new world!! My friend and I hosted a radio show for three years, but we only ever played off CDs, iTunes, and YouTube. To our left was looming this beat but functional turntable set-up, which teased, haunted, and confused me more and more as time went on. I had a single turntable for a couple years and was buying records here and there but I didn’t fully know why. I felt this intense abstract desire to get into DJing but didn’t know how to begin. My senior year I started DJing house parties with Virtual DJ and that was really fun.

I am extremely privileged to have had access to gear and to have a lot of supportive friends. My closest guy friends have been incredibly loving & uplifting and I wouldn’t have made it without them. Still, it wasn’t until Working Women that I actually started taking myself seriously and DJing freely. A: I lived in Vancouver and I had just graduated University. I was a pretty massive nerd all through school and never went out to parties. Then around 2011-2013 there were a lot of dance music parties happening and a handful of people throwing them. Looking back, the same reasons that made me not want to become a DJ are the reasons why I became a DJ. During that time I was not encouraged to put on a record rather patronized for trying it— it became a spectacle if I did. These were just the wack dudes around me at the time unfortunately. I started collecting records anyway and had one shit turntable, slowly grew a pretty decent collection. Now and then I had access to a set of turntables and understood basic principles of mixing. I was compelled to try because dancing was the only true moment I felt peace, a moment when I couldn’t feel myself thinking, connecting time and space, the feeling of being truly present in my body. There was always this twinge in the back of my mind that the point was not the DJ, it was the community, I still have trouble dancing facing the ‘front’ of the room but lately I’ve been thinking about the magic in solitude and the odd quietness or loss of ego that I feel a DJ can encourage. I’ll never forget going to this party I still frequent and consider very special, there were Lazy Boys in front of the decks. It was symbolic perfection to me. Anyway, I suppose I was seeking true community (still figuring out what this looks like!) one that is working together in and out of the dance floor. I didn’t feel this at the time in those early years but I’m working on building it these last few years. I remember being extremely alone and low on funds my first winter in New York, it was so cold that year. I spent all my time listening to my humble selections and practicing through the night, visiting parties in the early hours alone and meeting people who eventually became friends. This new understanding unlocked something in me and allowed me to finally become myself in a way I never imagined. Those moments were so precious and vivid. N: I remember an old boyfriend trying to DJ at a house party for the first time and saying to me "It's so hard - you have to listen to two songs at once and match them up!" That was how I came to understand DJing simply as beat matching, which has formed the bassline of my understanding. People would ask me to DJ at shows, between bands or whatever, and I would say no because I didn't know how to do that. It wasn't until a few years later that my friend and teacher Rok Riley and I and a bunch of other women in Perth started getting together at our local record store Good Company Records, where we were generously offered an evening a month to play any records in the store and practice under the wise and gentle guidance of Riley and others like Toni Yotzi. Then I started to think about it more as sharing songs, selecting, and the records I had been buying at GCR started to find new, communal life.

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Kristin: It’s so cliche, but mistakes are the only way you’ll really learn! That’s true to DJing, and that’s true to life. They’re not always fun, but they don’t always have to be painful, either. I personally still have a really difficult time accepting that mistakes happen while DJing, but in my personal life I’ve really embraced knowing when to admit that I’m wrong or flawed. I hope to bring that into my creative engagements as well. I have this mantra lately of “two steps forward one step back,” progress is so non-linear, such a push & pull.

It boosted my confidence a lot but it wasn’t satisfying. I still didn’t feel like I knew how to DJ. When I moved to New York I was suddenly surrounded by DJs. I felt really motivated but really stifled. My apartment was full of DJs and producers and I was a full-time teacher who didn’t know how to participate meaningfully. This was overwhelming and extremely frustrating. I would get so anxious and worked up when there were sixish men jamming in the living room that I’d go to my room and fume or tear up. I wanted to mix with them but I didn’t know how to beat match and I wasn’t going to try in their company. It took a long time for me to see past that gendered intimidation factor.


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When I moved to New York, these two ideas started to come together, I started playing out more than ever and learning about so much new music, as well as practicing the technical aspects.

echoing string, chimes, free feeling drums. Think I’m seeking magic. Yeah, it is hard to say.

K: I discovered house and techno privately in my dorm room at college and a bit later threw parties that were thrown on campus a few times a year. There was a main dance floor where the DJs played mostly top 40s from their laptops, and then there was a smaller, darker room where they played this wild music that I now know to be techno. None of my friends really spent much time in the techno room, but I secretly enjoyed that aspect the most of any party. I moved to New York straight after college and soon discovered The Bunker NY parties, and even though they were smaller than they are now, those parties were a larger scale and more formal versions of what I’d dipped my toes into in college. Going out to dance until the sun came up became a regular part of my life, and it really transformed my inner world completely. So it only made sense to give the whole DJing thing a try when I moved in with a DJ who had turntables and records. Little did I know I’d fall madly in love with the practice, and come to feel that it’s very much a purpose for me in this life.

WW: What do you try to do during a solo set?

As for my first understanding of deejaying, ha, well that took a while for me to figure out. I can remember so vividly being at Bunker parties and watching Mike Servito pick the needle up and put it back to the beginning of the next record he was bringing in. I always wondered why he did that, and how it didn’t mess everything up. I had no clue! Luckily there’s YouTube and good friends for that. But back then I would listen to mixes and feel like I was witnessing witchcraft, and now that I know more about the practice I see how true that actually is. ; )

K: A few things I like to do as a DJ: introduce people to new sounds they’ve never imagined or heard before, bring them into a meditative zone, and make them laugh at the sense of freedom of their bodies. I like intentional, meaningful transitions, technically and spiritually. To be quite honest, I have little patience for suspense when it comes to the dance floor. Someone recently told me my Discwoman mix contained “some high drama,” which made me really happy to hear. As a solo selector I want intensity, drama, passion. I want to create a world of our own.

WW: How do you define your sound?

A: I come at my solo sets more as a performance. I do try to maintain some thematic element throughout across varying songs and tempos. I am a big fan of surprises and letting songs stand alone but I also enjoy the trance-like circuitous quality of thoughtful blending and the power that has to elevate and perpetuate the psyche into another state of feeling. Honesty plays a big role in how I come to music too, sometimes I’m feeling silly, at times I feel fun and sexy, maybe all things at once but I hope to stay true to what I intuit from the space and mood. I think this improvisation provides a unique narrative connection between dancers, DJ, space, and the state of things out there.

N: I think / hope my sound comes across as playful and patient. I play a pretty broad range of music, it’s often a tiny detail that gets me hooked on a track. I search for an indefinable quality that I could begin to describe as sentimental, off-kilter, aquatic… K: I’d like my selections to come across with attitude. I like them to be subtly in-your-face, if such a thing exists. I also really love what I’d call “emotional bangers.” Songs that pull at my heart strings are my go-to, especially if they’re peak-time friendly. I also love silly, weird, or even distracting sounds woven throughout. T: I’m charmed by atmospheric, melodic “deep tech” elements, but forget what you heard cause my repertoire goes, if you will, far deeper. I play a lot of Italian house, earthy and druggy downtempo, street soul, and oddball bangers with synth-pop vocals. I love poppy, sci-fi electro and uplifting trance, but not much that’s too nerdy chilltronica or hard future rave. It’s a fine line that I lose sight of. It’s empowering to play something dorky and commit fully and relinquish your pride to the crowd. A: There is definitely a common thread between tracks I choose, even though I really do appreciate most genres. I think I tie a lot of sounds to imagery and landscape in my mind, not necessarily in a melancholic way, maybe more so as they pertain to the natural world. I feel like each song I play is visiting that zone or relating to some ‘non-musical’ element, or fickle feeling. It really depends on the mood but I’m drawn to deep dub, melodies that sound far away, vocals that are talking about absolutely nothing. Depends on where we are going I suppose! I’m drawn to elements of trip hop, trance, love a shimmer guitar riff, an

N: I’d like for people to hear songs that immediately sweep them off their feet as well, as tunes that unfold more slowly and meditatively. That push and pull, threaded together by really thoughtful transitions, and an overall adventurousness is the kind of dynamism I’m looking for as a dancer and a deejay. T: I go for eclectic sets that show range, that re-contextualize and re-purpose genres to make dancers rethink what kinds of music they actually like or can groove to. I try to balance cool synths with hard-hitting, swinging percussion, bright, twangy melodies with alien auxiliary parts… Last night I mixed out of a pumping electro track into INOJ’s “Time After Time,” which was a mini victory. I guess in the future I’d like to think more about the narrative arc of my solo sets; for now, it’s a lot of spontaneous synthesis.

WW: What aspect of your DJ personality shines during a Working Women set? N: I really enjoy connecting the dots and keeping things steady, trying to build from one selector to the next smoothly but also revealing another possible direction for the set. I also love the challenge of bouncing off a curveball (most of the time!) K: Lately I’ve found that I’ll be the driving force towards peak-time. I’m learning how to get us there in new and interesting ways without it feeling abrupt, but definitely letting everyone know it’s time to buckle up! T: Hopefully, my humor and my energy behind the booth. When I’m feeling the party, I get performative, and that’s when I’m happiest and feel most connected to the crew, the music, and the dancers. A: I do rely on intuition a lot. I like to think of what tempo feels right for the body at any given moment and that can mean many different personalities and directions.


PHOTOGRAPHER Sophia Aquino ART DIRECTOR Christina Stoever LIGHTING DESIGN Al Hall 1ST ASSISTANT Emily Galvin SET DESIGN Sam Audino WARDROBE STYLIST Christina Tung HAIR STYLIST Nigella MAKEUP ARTIST Alana Wright

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TOP PH5 DRESS Mathys Sinclair SKIRT I Waited for You... SHOES Vans


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WW: Do you feel WW is an educative exercise / experience? How to you see this educative element growing in the future? K: I do, although I don't want to overestimate that impact. I think it's important to see women represented as DJs, and I think it's really important for people to see women working together. I also think it's important for the DJ community to witness more projects involving real collaborative efforts. There's not a lot of people that do what do we do, in the sense of playing back to back every single time, so I do think there's greater value there.

TOP Mathys Sinclair PANTS + BELT (Kristin’s own)

We've thrown this idea around before, but I would love to have more DJs join the collective, even for one-off parties. I don't think it's totally sustainable to try and form an 8 person b2b every weekend, but including more people from time to time would be really fun.


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TEE ISM JACKET Nikki Chasin PANTS I Waited for You... SHOES Nike


WW: We all started on vinyl. How has using CDJs affected your relationship with digging and/or selecting? N: When I first moved to NYC I was going to record shops constantly. At that time I was buying mostly house and disco 12"s, and there was such a wealth available. After a while I decided I wanted to diversify my media accumulation, because I was discovering more amazing material coming out on tape, CD, digitally, in books... I still buy records, but I don't consider the format to be "number one" for me anymore. I used to crave the communal frenzy of NYC record shop listening stations, but recently I have preferred the comfort of listening at home on my computer. I feel I've gotten a bit more experimental with my selections since using CDJs, as trying something new comes with less of a financial / space commitment. Using CDJs has also allowed me to concentrate less on simply / strictly beat-matching, and mix a bit more free-form / fluidly. Also, it's easier to move quickly between different tempos, so I feel more confident to change up the vibe!

WW: What’s your go-to revival track? T: Lately, a cleaner version of “Club Action” by Yo Majesty. Timeless. They are too dope. WW: What is that track that makes you forget about the knobs and the faders and fully connects you with your body/the sound/the dancers? N: “Being Boring” by Pet Shop Boys. T: “Universal Message” by A.P.L. (A Positive Life). A very uplifting name for an extremely sweet trance-y house tune that gets me feeling some type of way. All the synth lines kind of bubble and rise and it makes me think of little fairies daring you to laugh. “Like the—like the wind blowing…” K: Web - Space Beyond (Un-zone mix). The deepest song I’ve ever heard. Wow. A: Wamdue Kids - “Whirlwind”

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K: Oh goodness, I have such a love/hate relationship with CDJs! Think I had a longer learning curve than most, it was a really tough adjustment transitioning from digital to vinyl at first. Then I had a short and sweet romance with CDJs that has lead me to be grateful for what they do, but ultimately I feel like they're not for me. I'm not interested in the gratuitous posturing a lot of people do when engaged in a CDJ vs vinyl conversation, but I do think it's okay to admit that beat matching is a skill I really value for myself, and that's why I find turntables to be a lot more engaging for me personally. I definitely don't think one way is "better" than the other.

However, I definitely still play something from a CDJ almost every single set. It's really bolstered my digital digging and broadened my style. I'm completely obsessed with Bandcamp now, just like so many other people I know. I love the spontaneity of digging for & playing mp3s, and I also love carrying around tracks I'm excited about for a gig and listening to them on my commute or during walks. It helps me bring more imagination into my sets I find. That said, there’s really nothing more therapeutic to me than spending a decent amount of time in a record store, and I always feel more creatively rejuvenated by that than having the entire internet’s worth of music at hand.


WORKING WOMEN

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WW: What DJ skills do you most admire about the other members of the collective? K: Everyone in the collective has really honed their technical skill and personal sound, so that would be the obvious answer. But lately I’ve been situating my favorite things about everyone in the context of the development of a night:

WW: How do you prep for a Working Women gig? N: It usually starts with a text to the group thread "what music shall we play on Saturday night?". The answers are often surreal - specific in feeling, vague in genre definition. Then I'll look back at my playlist(s) from the last gig(s) and think about the aspects of that night I'd like to bring with me or things I wanted to try but didn't get the chance to. It feels nice to bring new tracks I haven’t played before so as to impress the others and share the fresh listening experience, so I try to listen to lots of new music and mixes during the week, and practice mixing for a bit by myself to get comfy in front of the equipment. T: If I had the time and the skills to manage it I would prep and practice a little bit each day. More often, prepping looks like me in front of my computer the day before the gig, hood up and headphones on, eyes glazed over, devouring music and organizing playlists for hours like a madwoman. I try to buy records in shops a few times a month, but I haven’t been going as much lately. One of my favorite parts about DJing is how music can sound so different depending on the context; each gig is a new frame of reference. The other artists on the bill, the venue, the vibe of the party, the season, the current musical aspirations of the crew, the horoscope (!!) all shape our taste filters. Whenever I prep for a gig I get the feeling that music is such a malleable thing. So I’ll do a lot of re-listening and imagine myself unleashing each song at the party; it goes in the bag or it stays out. It’s a fun process. Then I usually have a beer and practice at home right up until I leave. K: Each week I'll go through the music I've collected recently and imagine it in a WW setting amongst each DJs different styles. I'll try to find songs that I identify as being in conversation with everyone else's style, and then I'll also find a batch that are uniquely me. Sometimes, and more often now that we are playing so much together, these two folders will have a lot of overlap. Typically though, I'll leave out tracks that are less than 3 minutes long (which is plain rude in a back to back setting if you ask me!). There are also some tracks that I feel like reserving for an upcoming solo set. I often feel a lot more at ease prepping for a WW gig than I do for a solo gig. Obviously that's in part due to the fact that I've got three other people up there with me making something nice, but gigs with the collective require me to relinquish a sense of control. I have a tendency to over-prepare for solo sets, and that's just not possible when you're playing back to back with three other people. It's unpredictable! And that's what makes it so fun. You've got four people at the reigns and it's nice to let our chemistry for the night lead the way. A: It’s messy and pretty unromantic. A lot of visitation to old and new sounds and haphazard digging. Thinking about melodies that pair well. Pen, notepad. Sweating. Sitting in front of my computer at 4am, standing at my turntables at 8am. Lately, I do search for a lot of new music because there are so many beautiful sounds being put out into the world daily. If I’m lucky I’ll have a nice day of digging before hand at A1, or my favorite sit and listen calming space Two Bridges. We’ll all throw out wacky ideas of how to build our sets beforehand and if you could hear these genres—lol.

At the beginning of our sets, I find that Nina really shines. She’s got such an ear for the weirder sounds with totally wild rhythms. Those songs have been setting a really nice tone for our opening sets lately, drawing listeners in even if they’re not ready to dance. Nina’s also patient and adaptable, and listens really well to the person before her and follows their lead in a really smooth way. I look for Ashlyn on the way up to peak time. She always has these really great song-like tracks that get people really excited. I love a lot of the vocal samples and percussion in her tracks. Also, it’s well-known amongst the four of us that Ashlyn is our wild card =) She’ll throw something in totally unexpected, with confidence to top it off. You can really tell when Ashlyn is ready for a challenge behind the decks because she’ll come out swinging extra hard. Tanya, our EQ queen, really speaks to the part of me that likes to go deep. Not as much a bangers DJ (although she’s got her fair share), Tanya has a serious ear for those late night tracks that get you so deep in the zone you hardly know where you are. Some of the most beautiful music in existence is always in her bag! T: And Kristin! I admire Kristin’s unflinching devotion to her craft. She comes correct with fresh peak hour slammers and drops them in at carefully considered moments, adjusting the plate elegantly with her forefinger. She has become such a refined listener and a really clean, invigorating mixer. Kristin is no one trick house pony, and she consistently surprises us with quirkier techno and icy electro. A: Tanya has an indescribable style of mixing in a song that is completely her own. I could hear it anywhere and know. It’s not abrupt but extremely decisive and always on point. She knows how to EQ and she has so much style while doing it, it’s so cool! Kristin knows her music better than anyone knows their collection, and she has a lot of records, I don’t know how her mind is capable of cataloging that much information. Because of this, she can find ways to build on the previous track that my mind would have never conceived of, bouncing in a beat, a freaking riffing harmonica, bang there’s a hi hat that matches perfectly in there somehow? It’s nuts, yet complex and considered at the same time. Nina always soothes my soul with her selections and generally it’s always a new and exciting song that gives that fresh feeling—otherworldly and I’ve likely never heard it before. She’s a space person, serene alien queen. N: I always come away from a WW gig or practice session full of new knowledge about music and ideas about technical betterment. Sometimes I’ll find myself standing completely still behind the person putting on a track, staring at their hands over the mixer / CDJs / turntables, mesmerized by their expertise. The most fun way of thinking about everyone’s skillfulness is to investigate why a song becomes a “Voices track” an “Ashlyn song” or a “Nicely jam”. I’ve likened Kristin’s selections, no matter the genre, as akin to Jazz - dynamic, intricate, communal explorations with bizarre breakdowns, call and response, lots of emotion. Ashlyn’s taste seems to me to grow out of a “song” tradition, stand-alone holistic and meaningful. Tanya truly transports me to the future - the sounds, structures and influences she gravitates towards always sound and feel progressive, and her love of music is infectious.


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BLOUSE Chanel. PANTS Calvin Klein. BOOTS Rick Owens.

WORKING WOMEN

(Left to right) TOP ISM. PANTS Viva Aviva. SHOES Nike. TOP + SKIRT PH5. SHOES Model's own. TOP I Waited for You... SKIRT Mathys Sinclair. TOP ISM. PANTS PH5. SHOES Nike.

BLOUSE Chanel. PANTS Calvin Klein. BOOTS Rick Owens.


WORKING WOMEN

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(A): Are you a gear head? Do you wish you were? Is it important or empowering to know your way around DJ & sound equipment or is that a patriarchal illusion?

(A): Is the DJ responsible for establishing a safe and inclusive dance floor? How can we do a better job making sure that the club is a fun & secure zone for all people with marginalized identities? A: Absolutely. It’s the main job. The priority is everyone who needs an inclusive space to feel comfortable and free. That feeling, free, comes with accountability and it’s on us and everyone involved with the party. That’s done through a lot of communication and clear boundaries, playing with peers who also recognize what a safe space means. Questions. Everyone involved must understand what we are all doing to protect and to welcome everyone with respect. I’m learning too that sometimes this means withholding the impulse to be opportunistic with gigs because I think taking time to understand what a space and booking is about is also a DJ’s responsibility. Safety also means honesty and calling it like it is, removing cultural capital from the situation because that to me is often the aspect of safe spaces that is overlooked. Humans are messy and can be extremely irresponsible sometimes, especially at a party if there are substances involved, yet nobody should be given a pass. If someone is suffering internally and causing harm—because usually they are suffering one way or another in doing so— They need help in a larger sense but not at the expense of others and so keeping your eyes open to complexities of how to reduce harm for everyone means paying attention and determining a responsible course of action but the bottom line is zero tolerance, immediately at a party. The other important thing to consider is the notion that the work ends at the party. We should all be available, at all times, to help assist those who have concerns, have experienced harm, those who have questions, and/or have experienced trauma. Nobody should feel alone, ever.

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A: I’m not a gear head but I am learning a lot about different gear with each party, and I embrace that. I started off with pretty wacky Stantons that a kind friend gave to me and my thrifted 90’s technic speakers that sounded crackly. 2 channel Numark mixer. I learned how to mix on this until I quite literally couldn’t use them. Last year I invested in gear slightly more precise. Use what you have and gain the fundamentals then take your DJ money and invest when the time is right : ) The idea that you need the best of the best is classicist and irrelevant. Eventually, when your practice calls for it, I feel like everything aligns and the work you put in brings these material things around because you and your work is asking for it and you’ve toggled with what matters to you. It’s a good idea to try and do a lot with little, your person and creativity shines through at every seam and turn regardless.


WORKING WOMEN

WW: Who are your dream guests for future Working Women parties? N: So many! Roza Terenzi, Intergalactic Gary, SKRS, Ana Helder, rRoxymore, Kris Baha, LAPS, Toni Yotzi, Cooly G… T: Laurine, Peach, Lil Mofo, Born N Bread Crew, Beatrice Dillon, Budino, DJ Central, Warren Harris, Bufiman, Scott Zacharias... A: endless ideas Eris Drew, Dee Diggs, DJ Soul Sister, SKRS, Powder, Sybil Jason, Roza Terenzi, CCL, Warren Harris,Yu Su, Laila Sakini, Kiki Kudo K: Every single person everyone else has said, and also: Avalon Emerson, Noncompliant, Sybil Jason, Apeiron Crew, RTS, Powder, Antenes, Jen Ferrer, Ash Lauryn, Or:la, Courtesy, Josh Cheon, Kiernan Laveaux, Analog Soul. And pretty much every person we’ve already had as a guest, AGAIN! WW: What’s one nugget of advice you would give your novice DJ self? N: Trust and be patient with yourself. Don’t feel like you have to match the intensity / tempo of the DJ before you - be confident to start anew and feel your way into the wavelength you want to be at. A: Don’t abide by shallow hierarchies. T: I still fully embrace the novice epithet (!), but I would tell myself to be loose, be easy, be sexy, to get comfortable adjusting the beat when both tracks are live, to be brave about inviting friends to gigs, and to keep in mind that deep and atmospheric tracks don’t always sound as good on the floor as you think they will. K: Don’t be afraid to take risks. Remember that no one is listening as closely as you are. Use that knowledge to uphold your standards but also let yourself off the hook for mistakes sometimes. Be unapologetic in your selections. Never stop practicing but remember that no one was born knowing how to do this. Be more patient with yourself!

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STILLNESS IS THE MOVE

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STILLNESS IS THE MOVE

photography + direction Taylor Reynolds featuring Robyn Breen wardrobe stylist Vanessa Popoli hair + makeup Lacey Day clothing Second Cousin Vintage


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TAYLOR REYNOLDS


STILLNESS IS THE MOVE

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TAYLOR REYNOLDS


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TAYLOR REYNOLDS


STILLNESS IS THE MOVE

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TAYLOR REYNOLDS


DIARY photography Marisa Chafetz

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MARISA CHAFETZ


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MARISA CHAFETZ


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MARISA CHAFETZ


AARON BARTON

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MILKY

QUARTZ

Parker Woods documents a friend’s public display of cutting his hair, as a means of balancing his background and culture with the hegemonic norms and expectations in Western society. Lancer Casem jumped on a plane and took us to her homeland where she captures the realities of her culture from a native’s perspective. Natasha Fortson woes us with her emotionally rooted, non-representational meets figurative art that she creates as she explores her own self-representation. DAIRY FREE


photography Parker Woods model Jerrod La Rue

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COLLATERAL


COLLATERAL

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PARKER WOODS


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PARKER WOODS


COLLATERAL

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PARKER WOODS


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TAKE CARE

STATE OF THE PSYCHE Words Marisa Kalil-Barrino

Over the course of two years, politics have made a strong impact on citizens, especially millennials. The feelings of stress, frustration, and helplessness are at an all-time high. The status of our political climate constantly keeps the People on the edge of their seats. From lack of protection for People of Color, the LGBTQ+ community, and other marginalized groups, it can cause an unnecessary amount of stress. Also, let’s not disregard the lack of clean water in Flint, Michigan, the constant war threats between Donald Trump and Kim Jong Un, and the constant mass shootings occurring due to the ambivalence of gun control. These atrocities occur every day and affect citizens of all ages. However, it mostly affects millennials. Millennials today are educated, aware, and frustrated about the lack of change. As a Black woman in America, it is difficult to easily get by. We must work hard every day and support our fellow People of Color as well to be the change we need. The number of protests and petitions have risen since the multiple fatalities of black

men being shot by police. Being a millennial, we face a constant threat just by being a millennial. We are at risk of police shootings, repealing Planned Parenthood, school shootings, homophobia, and the murders of transgenders. Although it may not be noticeable, mental health can be diminished due to the climate of the political status. Many people caught post-election stress disorder. By that, it means many people were left depressed, stressed, insomniac, and frustrated over the election of Donald Trump. Many citizens felt helpless, vulnerable, and afraid of what the future will hold. A plethora of the incidents that have already happened are what The People worried about in the beginning of the election, especially millennials. Despite the status of our political climate, it is important to keep a positive eye about the change that is needed in America and internationally by being the change. We must continue to protest, petition, and use our voices to take a stand against the wrongful actions and laws made by the government.


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OLIVIA BEELBY


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PARANG WALA photography Lancer Casem


PARANG WALA

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LANCER CASEM


PARANG WALA

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LANCER CASEM


PARANG WALA

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PARANG WALA

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LANCER CASEM


EDITOR’S NOTE

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Natasha Fortson


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art Natasha Fortson

NATASHA FORTSON

SEVENTY-TWO


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NATASHA FORTSON


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RACHEL THOMAS

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SMOKY

We come out of hibernation with Katie Borrazzo with a dreamy, free-spirited rooftop shoot. Christina Stoever spends a day with a group of boss ladies who have crystallized their strong bonds and hard work into their friendship. Emilka welcomes us into the glitzy world of UTIN’s one-of-a-kind, empowering clothing brand. Dominic Palarchio invites us to peer into his ever-growing and changing identity through boyhood. NO SMOKING PLEASE


photography Katie Borrazzo stylist Kelsey Olivia hair + makeup Mayela Vazquez using Chanel Beauty + Tavi Hair Products model Jieun Hyeon @ Supreme Management

JACKET Assembly. TOP Rachel Antonoff. DRESS Closed. PANTS Closed. SHOES LD Tuttle. JEWELRY Wolf Circus.


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TOP Closed. VEST Cienne. JEWELRY Wolf Circus.


DRESS Omondi. UNDERSHIRT Frances De Lourdes . GLOVES Amato. EARRINGS The9thMuse. SPRING FORWARD QTZ 110

(right) TOP Kahle. PANTS Ph5 . NECKLACE Odette. RING The9thMuse. GLOVES Amato.


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SPRING FORWARD

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JACKET Billy. TOP Wray. DRESS Kahle. TOP Closed. EARRINGS Odette. NECKLACE Wolf Circus. GLOVES Amato.


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(right) JACKET Dama. TOP Kahle. PANTS Julianna Bass. SHOES Charlotte Stone. EARRINGS The9thMuse. RINGS Fade to Black + Odette.

TOP Kahle. GLOVES Amato. EARRINGS K/LLER. RING The9thMuse.


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EDITOR’S NOTE


EDITOR’S NOTE

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TOP Kahle. PANTS (worn as top) Assembly. EARRINGS Odette.

(left) DRESS Omondi. SHIRT Frances De Lourdes. PANTS Kahle. EARRINGS The9thMuse. BRACELETS Charlotte Stone. GLOVES Amato.


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HOW DO U DO IT?

photography Christina Stoever


EMILY BARR

Who are you + what do you do? I’m Emily and I am a freelance makeup artist.

What does growth mean to you? To me, growth means recognizing and directing positive energy towards overcoming any personal or external obstacles . Favorite ways to selfcare/self love: Writing a short list of 5 to 10 adjectives that describe who you are or who you aspire to be and reading them everyday is a great reminder to act in alignment with your best self. I’m also a big fan of positive mantras. My favorite one being, “I have everything I need because I have myself.” How do you recharge? Whenever I feel like I need to recharge, I like to lay low and either go for a walk (if the weather is nice), spend time journaling or playing the guitar. Give us advice: Some of the best advice I have ever received is to immediately accept what is out of your control and to always remember the importance of being present.

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Do you have any rituals? This year, one of my goals has been to revamp and incorporate more healthy habits into my dayto-day routine. I try to dedicate 10 minutes, every morning, to meditation and sun salutations and I have already noticed huge increases in my energy, positivity and overall mentality. I find a lot of inspiration through music, nature and my amazingly talented friends.


HOW DO U DO IT?

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CARLY CALL

Who are you + what do you do? I am Carly Call, I work for a menswear brand, John Varvatos. On the side I am a freelance stylist and I’m currently working on a fabric manipulation project. Do you have any rituals? I typically don’t like routines or repetitiveness. It might sound a little weird, but I try to just go with the flow and do whatever I feel like. One day it could be avidly writing poetry about how I am feeling, or how I am viewing a situation. The next day I could be taking a lavender bath doing some self reflection. What does growth mean to you? Growth is ever-changing to me. I feel like it is inevitable being who I am. My mother was always on the go during my childhood, so inherently I feel the need to be doing something at every moment, or I am wasting my time. Favorite ways to selfcare/self love: I practice self care by being mindful of my energy. I firmly believe in the law of attraction so having a positive outlook, or surrounding myself with positive energy, is extremely important to me. The people I surround myself with also play a huge role in my personal self love- it is important that I have genuine, loving relationships with people that I trust in order to stay sane. How do you recharge? This is going to sound corny as hell, but as of recently I have been listening to Bag Lady by Erykah Badu whenever I feel overwhelmed by everyday life. The song reminds me to let things go that are adding to my stress levels. I think it’s important, being as busy of a person as I am, that I take time to clearly think about what I want and how I will achieve it, because it’s so easy to get caught up in trivial things life throws at you.

Give us advice: “Draw things how you see them, not as how you want them to be.” My art teacher in high school, Mr. Ignani, used to tell me this all the time because I was a perfectionist when it came to figure drawing- it would take me two hours just to draw an ear.

I apply it to my everyday life, and it’s strange to think about how it influences the way I currently create. It inspires me to stop trying to control the way things are perceived, and focus more on the process of creating it.


BIBI BEAUMONT

Who are you + what do you do? Uribi, Bibi, Ribi, hny. dp, I’m like twelve different people. I’m in the realm of someone who does both too much and too little. Right now I’m teaching myself how to play four instruments. I’ve been a singer my whole life, so my goal this year is to finally produce my own music. I’m kind of jumping in head first. I love to write, too. For the past 6 months I’ve been focusing a lot of my energy towards modeling. It’s mostly for fun and to help my pals out - like this magazine. I’m lucky to be involved, it’s literally filled with all of my closest friends and peers.

What does growth mean to you? I’m constantly aware of my growth. Almost to a fault but it’s hard not to be. A lot of people (myself included) zero in on being “better” and on upward mobility, which isn’t really realistic. Issa Rae said something along the lines of growth being “horizontal”. That resonated with me. It’s easy to get lost in what success looks like. I guess I’m aware of my own growth because I surround myself with the kinds of people who want more for themselves and for me. The cycle never stops.

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Do you have any rituals? Will people hate me if I say my ritual is trying to finish a Brita full of water before bed/when I wake up? Probably. I kind of really love rituals because it helps me know what state of mind I’m in. Skin care routines, tidying up my room before bed, making a healthy breakfast, taking my vitamins - it’s all a comment on my emotional state. Especially keeping a clean bedroom. I believe your living space is a reflection of your mentality/approach to life.

Favorite ways to selfcare/self love: I can be pretty critical of myself sometimes. If I notice I’m forgetting my worth I try and create something. Whether it’s a piece of writing or a song- I’ll keep writing until the subject sounds foreign to me, the way a word loses its meaning if you say it too many times. You start to realize you can make sense

out of anything, so why not let it be positive?

beforehand. Random stuff- neuroscience is pretty neat.

How do you recharge? Music. I listen to something that I identify with in that moment. I frequent Claude Debussy, Hiatus Kiayote, Freddie Gibbs. Something that has personally impacted me at one point or another. Or, I try and learn something I didn’t know

Give us advice: “You are not how you feel.” It’s from the podcast “Help Me Be Me”. It’s a good one because I feel a whole lot, a lot of the time.


HOW DO U DO IT?

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SHARE HARRIS Who are you + what do you do? I’m your local needy gal, Share. Being an HR manager for preferred building services is what’s currently paying the bills. But when I’m not working I recharge with a little TLC from my girls, family and cat. We’ll go see a movie, have a drink, or just chill and have good conversation.

Do you have any rituals? I don’t really have any rituals, none that I can stick with at least. I’ve always been a wonderer so change is a default setting for me.

What does growth mean to you? Growth means being open to new possibilities; spiritually, physically and emotionally. Being able to step outside the box and just go for it. Whether that be in your career, your home life, etc., growth means learning from your mistakes, and a wise person once said “the biggest mistake you’ll make is the risk you didn’t take”.

Give us advice: The best advice I’ve received in this life is to step outside the box and live a little! I have always lived by this advice but in June 2017, my brother was shot and killed over a pair of sneakers at the age of 17. So now more than ever, his death has made me realize that today is NEVER PROMISED so enjoy every minute you have on this Earth and with the people you love, because you never know when it’ll all be over. Life’s too short. Time to wake up and live a little.


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PRISCILLA CALL Who are you + what do you do? My name is Priscilla Call, I go by Prizzcilla on the internet. I’m an artist who uses a lot of different mediums; right now I’m doing a lot of styling work and working on dropping an eyewear line by next year. Do you have any rituals? My morning ritual always starts with a smoothie, a shower, then I pick up around my house. I can’t start my day with stuff laying out everywhere or it clutters my thoughts and makes it easier to procrastinate. When I get stuck and I’m in need of inspiration, I

like to leave my house and find somewhere I can write down my ideas and observe people at the same time. I take a lot of inspiration from just observing people in public or private settings. What does growth mean to you? Growth means you’re always changing and constantly shifting between perspectives and ideas. It means you’re always meeting new people, sharing new ideas and setting new goals for yourself. Most of all, it means you’re always learning and educating yourself.

Favorite ways to selfcare/self love: If you want to love yourself, the most important thing to do is not compare yourself to others, and to remember not everything is always a competition. If I’m ever feeling super bad about myself, I will text the group chat with all my best friends and usually they can do a really good job of talking me out of whatever hole I burrowed into in my brain. Everyone needs some friends that inspire you and really care about your feelings and wellbeing.

How do you recharge? Number one recharge tip is always take a bath, listen to some good music, and eat something green. Give us advice: Hands down the best advice I’ve ever gotten is when my mom always used to say “take the bull by the horns” because I was a very timid, and shy child. I’ve always interpreted it as take control of your life because you have the ability and the strength to accomplish anything you want.


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photography Emilka model + designer Ilgin Utin / UTIN

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A LITTLE GLITTER NEVER HURT ANYONE


UTIN

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EMILKA


UTIN

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EMILKA


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CLEMENTINE SERIES

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JAC BLADOW


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COMING OF AGE photography Dominic Palarchio


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DOMINIC PALARCHIO


COMING OF AGE

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DOMINIC PALARCHIO


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QUARTZ


QUARTZ QUARTERLY spring 2018  

Spring 2018; The Inaugural Issue featuring Sophia Aquino, Katie Borrazzo, Lancer Casem, Marisa Chafetz, Ellis Clare, Emilka, Natasha Fortson...

QUARTZ QUARTERLY spring 2018  

Spring 2018; The Inaugural Issue featuring Sophia Aquino, Katie Borrazzo, Lancer Casem, Marisa Chafetz, Ellis Clare, Emilka, Natasha Fortson...

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