Requiem V1

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Photography by Tylyn King

TABLE OF CONTENTS Harajuku Fashion: Tokyo’s Eccentric Streetwear................................8 Tylyn King

Reviving Fashion: Why Thrifting and Upcycling Through Depop Is More Important Than Ever................................................................. 12 Valentina Desiderio Rodriguez

The Importance of Lost Things........................................................... 18 Sierra Palian

How Can I Hate California?................................................................ 22 Enya Bayaraa

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Photography by Liv Gewanter, Christian Murhpy, Gabi LInke, Tylyn King & Jude Walzl

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Photography by Christian Murphy & Lilian Ma

Harajuku fashion is an explosion of color—a mosaic of patterns, sometimes decorated with vivid wigs and hair accessories. At the pinnacle of Japanese kawaii (“cute”) aesthetics in this fashion form lies self-expression. Harajuku reached beyond social norms and expectations. The fashion style brings a splash of color and a loud boldness in a world of technology, concrete, barren cities and monotone skyscrapers. When the mundaneness of the city creeps over the horizon, Harajuku shares a vibrant alternative.

Harajuku (原宿 (原宿)) is named after Harajuku Station in central Tokyo. Walking through the city, one can find Harajuku-specific makeup or nail salons and shops. The fashion style’s popularity rose in the early 1980s as a way to reject the strict rules of dressing traditionally in Japanese culture.

The style developed an influence of westernization through the post-war Allied impact on Japan. Streetwear was viewed as a way to individualize and stand out, to wear what one wants.

Today, there are several subgroups within the Harajuku style. The lolita style uses pastel colors, frills, petticoats and stockings with European Rococo inspiration. Gothic lolita mixes Gothic and Victorian-influenced fashion with darker colors to contrast with the cute pastel style. Decora is the ultra-vibrant and loud rainbow clothing paired with piles of hair clips. Comfortable clothing, hoodies and sweatshirts are combined with skirts and layers of colorful accessories and socks.

Visual Kei and Harajuku punk have darker, grittier colors and sharper shapes, while Fairy Kei focuses more on cute, softer colors. Kimono-style Harajuku implements traditional Japanese clothing into the streetwear. The style Yami Kawaii (“sick cute”) addresses mental illnesses, health and depression through combining cute pastel fashion with motifs of health, like medical masks and syringes. Yami Kawaii is seen as a way to heal—an outlet to connect with others who experience similar feelings and to combat negative stigma and images surrounding mental illness.

There are other subgroups of the style, like Kodana, Kogal, Ganguro, Gyaru and more. Gyaru uses artificial beauty products, like fake eyelashes and tanning, tanning, to to address address the the toxicity toxicity of of feminine feminine and and pale-skinned pale-skinned beauty beauty standards.

Overall, Harajuku fashion emphasizes finding belonging and being open about one’s identity in unique places despite strict cultural expectations. Clothing depicts the social values of someone and how how they they want want to to be be perceived. perceived. Self-expression Self-expression through through clothing clothing and fashion goes beyond the social need of others’ perception; it is to to wear wear for for yourself yourself alone alone and and be be yourself yourself without without apology. apology. ImpleImplement the ideals of Harajuku into your own daily life—show yourself through your clothes and proudly yell to the world who you are.

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Photography by Liv Gewanter, Sam Nelson, Tylyn King, Christian Murphy & Jorja Stratton

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Photography by Christian Murphy

Fashion has always been an important and ever-evolving feature of the human experience, often reflecting changes in our society regarding politics, culture and the environment. A common thread of these constant waves of fashion has been thrifting, a concept that can be traced back to ancient times. In the past, when communities still practiced barter systems, the trading of goods such as clothes and fabrics was common. It wasn’t until the 19th century that thrift stores started being widely established in the United States, as these helped alleviate the financial burdens that people at the time often faced by providing affordable access to clothing and household items.

Over time, thrift stores became not only a way to provide better access to second-hand clothing but also a staple of fashion styles themselves; many fashion subcultures such as Punk, Streetwear, Y2K and Grunge utilize thrift stores to find clothing that better suits these styles than anything a mainstream clothing store can provide. With the rise in popularity of nostalgic aesthetics, thrifting has become more popular than ever. The internet has become an important part of this—apps like Depop give people the ability to sell and buy clothes online, further expanding people’s access to second-hand clothing.

But why is thrifting, and by extension, upcycling, important?

When new clothing is produced, toxic substances and harmful chemicals are used, used, emitting greenhouse gases into the atmosphere and exacerbating issues relating to climate change. Once people get sick of these clothes, they throw them away, and the clothes end up in landfills. A lot of our clothes are made of plastic-based materials, like polyester, which means that clothing that has been discarded often takes hundreds of years to decompose, damaging the environment even more.

Thrifting and upcycling clothes is an important way to give clothing an extended life. You can donate clothes to thrift stores or sell unwanted items rather than throw them away. Rather than going to the nearest H&M for a new jacket, you can scour the hundreds of options Depop provides from your phone and find what you want for an affordable price (and better quality).

Maybe the neckline of an old top isn’t particularly flattering—you can cut it off to make a cute off-the-shoulder moment. Upcycling provides the opportunity for unburdened creativity in the fashion world (and the beauty of thrifting is that people don’t have to know that the shirt doesn’t always look like that). Not only are thrifting and upcycling significantly more sustainable than supporting unethical practices of fast fashion, but they have also allowed more people to get in touch with experimental fashion. Many fashion subcultures, like Punk and Scene, often utilize a second-hand, DIY element to the items of clothing they use, as it is more affordable but also reflects the political cultures of these subcultures, like Punk’s opposition to consumerism.

Similarly, as many young people begin to stray away from the pressures of societal norms and traditionalism, their clothing trends have followed. More young people have begun to buy and sell thrifted items, giving rise to a collective of aesthetics like vintage fashion, Y2K, and Academia, among others. Depop has given people around the world access to participate in the new culture of thrifting, making it an even more accessible tool than it’s ever been.

Thrifting and upcycling are a great step to addressing a culture of consumerism and fast fashion that impacts people around the world, but we have to remember that they’re more than just trends—these are tools to help save money, reduce waste and embrace creativity. As people continue to turn to sustainable practices, it creates a ripple effect of positive change that we must encourage to sustain our future.

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Photography by Aria Brauchli

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Photography by Aria Brauchli

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The lost and found bin: the actualization of the glass half-full or empty analogy. It’s a thing that holds unlimited promise and unlimited disappointment alike. Think back… What was it like to dig through piles of worn jackets, hats and pencil cases in the back of the gym or cafeteria, looking for something you promised yourself you wouldn’t lose? And why is it that you haven’t been back to that room in so long, yet you still experience the sting of fresh loss that accompanies each new week of adulthood?

Recalling your first misplaced item, a toy or journal, maybe, might feel like revisiting an unwritten chapter or unfinished ballad of your life. It serves as a reminder of the day you and loss were no longer strangers, and with each subsequent encounter since, you have fostered either friendship or enmity. Often, we choose the latter; in a world of maximalism, we are taught to search for everything that has disappeared, with our hearts remaining empty until all lack is eradicated.

There is nothing good about the capricious limbo that comes before being found… or is there?

Would it be so outlandish if loss wasn’t a “lack” at all, but an exchange? Yes, you must give up the thing you love, but in return, you come to understand its significance. It mattered. And so, the “vacant void” of loss that remains is not a void at all—it pulses with love, devotion and a million other multichromatic, swirling emotions. You are alive, you are human, and loss is the mirror that reflects your humanity back at you. There is wholeness to be found in the void of the lost and found bin.

There are also lost things that cannot be found, and this adds an additional layer of perpetuity. It’s comforting to know that a lost thing may turn up, but permanence transforms this waiting room into the final destination—there is no door to be unlocked or room to enter, and you slowly begin to realize you aren’t in a queue at all. The lull of backseat drives, fireworks and sprinklers, sun-warmed popsicles—all memories, all fleeting. These moments come and go, and existing within your childhood means eventually allowing it to pass. But this, too, is an exchange, if you allow it to be. Part of aging is amending your relationship with loss; what is lost can be found, and what cannot be found can be transformed.

Memories of your past act as your compass, guiding you toward what you believe is worth pursuing in the present. Childhood can be found everywhere: in the soft call of chirping birds, the distinct smell of petrichor and the moments that awaken a familiar feeling of being whole.

Adulthood is only a loss if you believe you are vacant, but you aren’t. You are transformed. Everything you want exists right now, and paradoxically, only loss can bring you to see that nothing is ever missing. Ultimately, if you were to travel back, you’d find the lost and found bin empty down to the metal; perhaps everything has been found, or maybe nothing was lost in the first place.

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Photography by Christian Murphy

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Photography by Christian Murphy

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Photography by Kylie Wariner, Megan Salcedo & Enya Bayaraa

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Photography by Riley Schwimmer & Jorja Stratton

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Editor In Chief Rhett Kaya

Deputy Editor Rue Murray

Creative Directors Mia DiNorcia Olivia Gewanter Garrett Botsch

Creative Direction Sam Nelson

President

Tarrah Connolly

Vice President Max Iannini

Treasurer

Anna Longval

Editorial Board Writing Director Enya Bayaraa

Makeup Director Rey Eiras

Modeling Directors Olivia Overton Kam Monsefi

Art Director Nate Siegfried

Music Director Kaia Gonzalez

Fashion Design Director Emily Zhou

Event Coordinator Sierra Palian

Styling Director Andie Beasley

Photography Directors Gabi Linke Christian Murphy

Senior Graphic Designer Caitlynn Pedersen

Photographers

Christian Murphy Megan Salcedo Enya Bayaraa Sam Nelson Kylie Wariner Gabi Linke Liv Gewanter Lucia Johnson

Models

Caelum Putney Enya Bayaraa Elsa Cormier Gabi Linke Satchel McGuire Lorelei Harwood Rey Eiras Mandira Gowda Ava Rotman Nate Siegfried RC Bader

Stylists

Liv Gewanter

Graphic Designers Hailee Hawkins Caitlynn Pedersen Liv Gewanter Megan Salcedo Enya Bayaraa Christian Murphy Gabi Linke

Hair & Makeup Rey Eiras Satchel McGuire

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