Positive Illusions: W/S 2022

Page 1

MAGAZINE

W/S 2022 Vol. 04 Issue 2


EDITOR IN CHIEF: Jack Boardman

EDITORIAL Director: Mansi Mamidi Salomé Cloteaux Piper Dafforn Mia Galante Kayla Pallotto Nidhee Patel Nanna Perez Katherine Pietrangelo Bailey Roulo Natalie Scholz Erin Stafford MERCH & STYLING Director: Varsha Anand Alisha Ahmed David Baumann Autumn Brandt Neely Branham Zee Brown Clara Lietzke Georgia Manges Ava Mikola Kate Mojica Sophia Newman Jillian Pullen Julia Rusyniak Zoë Simmons Grace Sui Caitlyn Soegiantoro Calvin Sung Caroline Vegter COVER PHOTO: Regan Jones

MARKETING & COMMUNICATIONS Director of Marketing: Connor Garcia Director of Communications: Lily Friedrich Treasurer: Hali Lucas PR MANAGERS Nicole Hurd Shilpi Jena Libby Kaibas Arianna Weisberg Nanette Zhang SOCIAL MEDIA MANAGERS Chloe Foster-Storch Lucille Pietri Claire Potter

Director: Lucas Bishop Meredith Ho Aanya Jain Regan Jones Madi Kay Sarah Qu Klaire Rasche Ellie Woytek

CREATIVE DESIGN Director: Jade Kern Olivia Childress Katelyn Clemow Skye McLaughlin Amanda Miller Melanie Roberts Jannica Seraypheap

WEBSITE MANAGER

EVENT PLANNERS

Maeve Billings

Anika Narula Mansi Patel Christina Van Buskirk

CONTENT CREATORS Ria Agarwal Caterina DeSantis Alanna Herrey Jack Lopez Ziona Tharakan

PODCAST Samantha Berke Brooklynn Shively

GRAPHIC DESIGNERS

DATABASE MANAGER

Clare Keller Lydia Yong

Mayson Reperowitz

special thanks to: Cherry Canary & Artisan Alley

2|

PHOTOGRAPHY


TABLE OF CONTENTS

ABOUT THE THEME

LETTER FROM THE EDITOR

4 IT COUPLE EXPOSED! 12 SAFE SEX 20 NEXT TO NOTHING 28 AFTERIMAGE ​​

36 SPLENDOR OF OUR FUTURE 44 RETURN TO NATURE 50 REAL HOUSEWIVES OF PLUTO

M

aking a fashion magazine sometimes feels frivolous. During the past few months of work, there were points where I felt that what I was doing was trivial. In light of the ongoing tragedy in Ukraine and the interminable ebb and flow of the pandemic, spending so much time thinking about photoshoots and fashion styling seemed shallow and flippant. However, I’ve come upon the realization that what we do here at SEASON Magazine is crucial. In a time when destruction surrounds us, creation - and occasional frivolity - is the only way to counterbalance the onslaught of devastation. I say this, too, with the knowledge that we are just a student-led fashion magazine…

C

ontrol has been a foreign feeling as of late. Between a series of world crises and the inevitable path towards adulthood, the desire to shape our futures and happiness seems like a lost cause. There is no end to the list of issues humanity faces, and yet many of us are privileged to avoid most of the fallout. Stuck in this limbo of exhausted sympathy, hopelessness, and guilt, there is only one reliable way to cope: to pretend. To pretend that our efforts have an impact, to pretend that meaningless things have meaning, and to pretend that we don’t see what is directly before our eyes. Sometimes it is beneficial to delude oneself into optimism, or to engage in Positive Illusions. To visualize an ideal world is the first step to achieving it. But taken one step too far, Positive

Nonetheless, I’m incredibly proud of the work that our members have done here, and I believe that the time that we spent together producing this edition is an act of positive creation in itself. As the title of this edition goes, sometimes yielding to our Positive Illusions is all that we can do to keep going. And while many of the concepts in this edition deal with illusions or a sense of disillusionment, know that letting yourself dream a little, even when times seem dreamless, can go a long way.

Jack Boardman, editor in chief

Illusions lead us to ignore warning signs until it is too late. We may often find ourselves investing real time and resources into figments of imagination that dissolve once we encounter consequences too big to dream away. But even with the admission of these false realities, sometimes the dream is too sweet, much sweeter than the real world. Even if it’s selfish, even if it’s delusional, while there’s still some time left, let’s indulge in our Positive Illusions for a little while longer.

Varsha Anand, director of merch & styling 3|


IT COUPLE E 4|


By virtue of social media, however, what’s considered interesting and out of the ordinary is a self fulfilling prophecy. BY MANSI MAMIDI

W

ithin the resurgence of high glamor and hyperfeminine aesthetics, the conceptual ‘it girl’ has also made a comeback. Originally coined in 20th century Britain and popularized in America to describe Hollywood actress and sex symbol Clara Bow, the term is more commonly known nowadays to describe early 2000s blonde media phenoms like Paris Hilton, Pamela Anderson, Britney Spears: wildly famous, conventionally pretty, and notorious party girls chased by paparazzi, captured at any single available moment of their lives to be plastered to entertainment media of all kinds. Their sexual appeal to male-dominated media outlets and performance appeal to audiences

that wished to emulate their fashion, aesthetics, and wild lifestyles entail what makes them alluring to a society that’s predisposed to want to track their every movement. As ‘it girls’, their lives are intriguing enough to be watched no matter what; something interesting or scandalous will inevitably happen by virtue of what they represent as famous, attractive, alluring young women and girls. But what even constitutes an ‘it girl’? Popular trends have largely moved away from what are considered basic styles, and with an incredibly oversaturated clothing market and a lack of streamlined advertising for a particular popular or trendy way of dressing due to social media, in which any given

person can cultivate their own communities and media attuned directly to their personal style, there is a large breadth of styles and aesthetics young people aspire to. To some degree, the ‘it girl’ community still comprises skinny girls who are wildy rich, famous, and attractive to the general public. Particular female musicians, actresses, teenage TikTokers, Instagram influencers and models, and female K-pop singers are considered innovative, spectacular starlets who are the ‘it girls’ of their respective industries and the industries they hope to break into. But even as certain photoshoots or styling choices go viral or reinforce the traditional attention toward

EXPOSED!

5|


6|


female celebrities as fashion icons, the ‘it girl’ as it’s known now is focused more on the everyday girl who dresses and accessorizes in a way that is unique and out of the box. By virtue of social media, however, what’s considered interesting and out of the ordinary is a self fulfilling prophecy. The moment someone with a large following styles themselves in a way that hasn’t been at the forefront of popular culture for a while, or they utilize styling techniques, such as layering which has made a staggering comeback, that people latch onto, that quickly can become the new norm and what was previously popular can suddenly become interesting and unique again. This therefore encompasses another facet of ‘it girl-ness’ that rehabilitates formerly maligned

women celebrities who were made fun of within the media for the way they were dressed or chose to present themselves, whether it was almost garishly effeminate and sexual, like Lil’ Kim, or aiming for a visceral reaction, like Lady Gaga (see: the infamous meat dress). Highly individual and notable for their fashion now, they have become ‘it girls’, as their creative direction has become recognized for what it is: unprecedented and visionary. The modern, more accessible concept of the ‘it girl’ on social media, however, is more in reference to an intense individuality or uniqueness that diverges entirely from the so-called basic norm, especially with the movement towards people honing in on their preferred style or aesthetics, and finding their own form of ‘it girl’-ness within

that style. Increased accessibility to popular pieces through fast fashion incentivizes people to own the same pieces as well, so intense individuality, whether it appeals to conventional ideas of what’s fashionable or what looks good, is heralded as ‘it girl’ styling or uniquely special. For the most part, chain smoking in an entirely denim outfit and depicting one cleaning their home in a micro mini skirt often yield the same affirmative reaction within their respective online communities. Those people can both be considered ‘it girls’ in their own rights; not caring about deviating from the norm stylistically and saying or doing whatever one wants are all considered ‘it girl’ behavior more so than any specific style. Now, anyone can create their own paparazzi buzz.

7|


photographed by: Meredith Ho head stylist: Neely Branham modeled by: Maeve Billings, Ian Boleman layout by: Amanda Miller, Jannica Seraypheap 8|


9|


10 |


11 |


12 |

HARRING

KEEITH


SAFE SEEX BY ERIN STAFFORD

I

t’s easy to characterize the 1980s as a time of immense color, creativity and artistic innovation. But the decade of glam, boom boxes, and synthesized pop music also bore the weight of an epidemic tearing through the LGBTQ+ community. But through complex surface patterns and powerful lines of vibrant color, the work of trailblazing artist Keith Haring symbolizes radical warmth and community when the dark

underbelly of societal conventions coats the world in a haze of hardship. The graffiti-inspired street art of Haring is recognized internationally today. Trademarks of the late artist include geometric and abstract designs of human bodies holding hands, most often seen on shirts, jackets and hats. But in a world of fast fashion, where profound images like Haring’s artwork are treated more as an objectual commodity, it’s important for fashion consumers to understand the meanings behind what they wear. As a middle-class kid from Pennslyvannia, Haring felt disillusioned with the elitist art community of New York City in the ‘80s. As he explored abstraction and graphic imagery, he found an alternative community developing outside the gallery and museum system. Under the influence of pop art spearhead Andy Warhol, Haring took to the streets with the desire to make public art. In downtown streets, dance halls and most notably the NYC subway system, he displayed drawings in rapid, rhythmic lines. Most of Haring’s work carried social messages as well. Haring created many of his murals as public works for hospitals, charities, and orphanages. One of Haring’s most famous pieces is his Harlem-based “Crack is Wack” mural, serving as a commentary on the 13 |


NOOTHING IS IMPORRTANT 14 |


photographed by: Lucas Bishop head stylist: Caitlyn Soegiantoro modeled by: Dakota Abell, Sym Cloyd, & Emilia Howe layout by: Jade Kern 15 |


16 |


17 |


severe crack cocaine epidemic of the ‘80s. Haring painted the mural after watching his studio assistant struggle with a crack addiction for years and noticing the government’s slow response to the drug in New York City streets. Even more of his work focused on increasing literacy rates amongst children with cartoon images that sported phrases like “Fill your head with reading.” Haring worked hard to separate himself from the unrelatable, money-driven community of successful artists in elite, social circles. In April of 1986, he opened the Pop Shop. This retail store in Soho sold Haring’s designs on t-shirts, toys and buttons at a low price. Haring intended to make his designs available to a wider audience of people who couldn’t afford professional artwork. But underneath his charitable work, Haring experienced his own struggles. Haring was diagnosed with AIDS in 1988. As an openly gay man, he vocalized how unfair the associa-

18 |

LGBTQ+ community was in the eyes of the public. Despite his diagnosis, he couldn’t stop creating art. Haring used his platform in the art community to spread awareness about the disease, even with a world of prejudice surrounding AIDS. He established the Keith Haring Foundation to provide funding for care related to AIDS and children’s programs, often using his skill to make safe-sex murals and art pieces. Through the still-active Keith Haring Foundation, it considers funding requests that assist New Yorkers infected with HIV and also helps fund New York City’s high-risk adolescents. In a 1989 interview with Rolling Stone, Haring said, “AIDS has made it even harder for people to accept because homosexuality has been made to be synonymous with death. It’s a justifiable fright with people that are just totally uninformed and therefore ignorant… That’s why it is so important for people to know what AIDS is and what it isn’t.” A lack of factual news circulation in the ‘80s

sented the disease as something contagious by touch alone. In the news’ harsh characterization of AIDS as something that mostly affected queer men, discrimination agasint the queer community worsened. Haring worked to generate a more holistic idea of the disease and educate people through his foundation and murals on safe-sex. Through his art and contributions to his community, Haring helped foster a community of safety and pride for the LGBTQ+ community in the ‘80s and following decades. His legacy remains strong in queer circles and the commodification of pop culture imagery in fashion. Images of Haring’s designs hold a sort of ubiquity, as they are seen on shirts and jackets everywhere. Even today, the childlike yet complex cartoons of Haring’s work break through the mold of commodification and represent a greater, cultural message of goodness and potential in a time of such loss.


19 |


next

to

nothing

photographed by: Sarah Qu head stylist: Julia Rusyniak modeled by: Cheyenne Figueroa layout by: Olivia Childress, Jannica Seraypheap 20 |


21 |


BY PIPER DAFFORN

I

n the last year, we’ve seen the emergence of a “next-to-nothing” trend in fashion: lace tops, skin-colored pieces, and sheer fabrics. These trends evoke the forbidden nature and subsequent allure of nudity, taking the wearer as close to nude as they can be while still wearing clothes. Carefully controlled and delicate, it gives the wearer authority over their body and how much they want to show. When we think about being naked or nude, we may picture the same thing, but they differ in meaningful ways. Nudity is simply the state of being unclothed. Nakedness suggests that someone is unclothed, but also vulnerable and unprotected. Nudity embraces a bare body, portraying it as aesthetic and elegant, and often sensual. Someone who’s naked is often trying to cover up. It implies a feeling of being watched, of being perceived without consent. The contrast between naked and nude has existed in art for centuries and was utilized often during the Renaissance. Nude figures are posed completely unclothed, symbolizing the power and sexuality of the body. Naked figures are unclothed, but not posed, and usually covering up a portion of their bodies. The artistic definition of nudity suggests that the human body is a piece of art, and should therefore be celebrated as it is. Along with the rise of the internet, a new kind of fascination with non-consensual nudity has emerged. Sex tapes of celebrities such as Kim Kardashian, Paris Hilton, and Hulk Hogan overtook the internet when they were leaked. In February, the Hulu miniseries Pam & Tommy was released, chronicling the marriage 22 |


23 |


24 |


25 |


of Pam Anderson and and Tommy Lee when their sex tape was stolen and made public. The press around these scandals proves the obsession people have with seeing public figures at their most vulnerable, and unaware that they’re at their most vulnerable to an audience, since it’s assumed to add a level of ‘authenticity’ to celebrities’ otherwise public and calculated sexual enticement. Despite this fixation still being relevant in the media, the commodification of nakedness is gradually shifting. Celebrities have begun to embrace nudity as the public develops new attitudes around sex, bodies, and sexuality. 26 |

Doing nude photoshoots or wearing sheer fabrics gives public figures the power to reveal their bodies to the public eye as they please. This trend of wearing “next-tonothing” invites us to acknowledge the vulnerability that comes with being naked. Sheer clothing and mesh tops intend to entice and appeal at the discretion of the wearer, and are therefore intentional and sexy. These “nextto-nothing pieces” go hand in hand with the growing societal acceptance of showing more skin. The invocation of nudity through

fashion has become a statement of power and self love. John Berger, an English art critic, wrote that “To be naked is to be oneself. Nudity is placed on display. To be naked is to be without disguises.” When we embrace who we are when we’re naked, at our most bare and raw, we’re accepting ourselves for everything we are, as we are.


27 |


28 |


BY BAILEY ROULO creates a harsh disconnect that can feel more like protection for ourselves instead of the reality of a seclusion we’ve unconsciously created. A small moment of introspection could solve all our problems if our identities were based solely on ourselves, but they aren’t. Within the fashion and beauty community, there are so many ways to connect with people online that share the same style and ideas as us. The internet is a great place to share opinions and feel acceptance and growth in areas of our life that we have never felt

A

s children of the digital age, we enter every situation with a cautious eye. It is harder to enjoy the innocence of our childhood when we have to take in traumatic information at such an impressionable age. In the past few years, many of us have developed a new version of our lives to cope with the reality we have been thrown into. The digital age makes it easier than ever to find ourselves under the influence of the people we see through a screen. When we feel like we have no one to go to, we find the people behind a screen that we have grown fond of, the ones who are always there for us, the community we found through the internet, our closest comfort. Although it’s important to be thankful for the communities we have found online, we tend to push the people in our lives away. A new version of ourselves starts to form as we try to escape the world we live in, unintentionally isolating ourselves even further. These parasocial relationships and communities we have tried to find some sort of identity in can make us lose track of what we want in life and who we want to be outside of the lives we currently lead. This

29 |


photographed by: Regan Jones head stylist: Ava Mikola modeled by: Isa Shumaker, Samuel Naranjo Rincon, Nick Johnson, Marco Martinez layout by: Skye McLaughlin, Melanie Roberts 30 |


photographed by: Regan Jones head stylist: Ava Mikola modeled by: Isa Shumaker, Sam layout: Skye Mclaughlin, Melanie Roberts | 31 43|


32 |


that anyone has cared about. It is important to realize that relationships found in these communities are important, but when it becomes a necessity in our conceptions of ourselves and we begin to cut ourselves off from reality, it is harder to realize that we are further isolating ourselves from the real-life relationships we once held dear to us. People seem to live fulfilling and rich lives through a camera, and we begin to view ourselves through that same lens, hoping to find some identity through it. We try to pin down what we are in a specific time to find some sort of identity when everything around us seems to be falling apart. This creates a dissociation between real life and the image we have created in our head. That split can become so staggering and our own eyes become biased against us. When the virtual things that sustain us come to an end, we tend to look at what could’ve been and the bright side starts to dim until a dull flicker remains. Eventually, we have to look away from the comfort the internet has provided to move on and find that our reality and life is waiting for us. Being alone is better than feeling alone.

33 |


34 |


35 |


splendor splendor splendor splendor splendor splendor splendor splendor splendor splendor 36 |

of of of of of of of of of of


f f f f f f f f f f

our our our our our our our our our our

future future future future future future future future future future 37 |


38 |


39 |


ION WITH THE A NC IE TH

E PA S T, T H E

ESS S B O

OF

VA TEM T E A L L AT

E

LT

EL

40 |

M.

photographed by: Ellie Woytek head stylist: Caroline Vegter modeled by: Georgia Salvino, Eduardo Rodriguez layout by: Katelyn Clemow, Olivia Childress

IS

S

Y

E

R

AL

DE

O TR

TH

CU

FO

M

NT

P S,

Y AND ACADEM R T N IC EDA


N T. B E A R

GI

M P T S AT OR I

NA E

VE

HOW

E EV

W Y, H O

R

LIT

LE VIO

OF R A E HE SM T Y L D U O R P D N A V E LY A BR

N D A ‘M

RD ARING,

41 |

E


42 |


43 |


AESTHETICISM HAS ROBUST

ROOTS

photographed by: Regan Jones head stylist: Neely Branham modeled by: Shruthi Ravichandran layout by: Katelyn Clemow, Melanie Roberts 44 |


BY NATALIE SCHOLZ

A

s content creators and social media influencers become the tastemakers, previously dominant authorities like Vogue hold less power than ever before. Users lap up content just as quickly as social media platforms like TikTok, Instagram and Twitter supply it. Therefore, within the fashion industry, trends are rapidly created, consumed, then retired. Trendsetters have darted from glitzy Y2K Juicy Couture tracksuits to plasticy, modest 2010s “twee” in less than a year. This timeline defies the traditional trend cycle, which usually lasts around 6 months and allows trends to repeat every 1020 years. From many angles the trend cycle is disappearing, making fashion enthusiasts wonder why it disappeared. In the digital age, consumers are constantly confronted with accelerated trend paces. Fashion is no stranger to this consequence. Due to the massive

TO NATURE

RETURN volume of content spread across multiple uberpopular platforms, the fashion-faithful have seen dozens of iterations of the same trend in a short period of time. Boredom surrounding a trend sets in much faster than ever before, and, in response, trendsetters quickly propose a new trend. Thus, the shortening of the trend cycle. But social media is not the only diminisher of the trend cycle. With the rise of secondhand shopping and sustainability, people have become more interested in objectively fashionable pieces of clothing or fitting into an era or aesthetic. Think of it like the marketing-friendly

45 |


“Personal Style” catchphrase, but with more visibly defined groundwork. Additionally, secondhand shopping has tons of avenues, from directto-consumer sites like Etsy, resale platforms like Depop, Curtsy, consignment retailers like ThredUp, TheRealReal, and traditional brickand-mortar thrift stores. Ironically, the absence of a trend cycle could have positive implications for the environment. In a world where a trend has no life span, the fashion landscape could be more focused on aesthetics and timeless pieces. Already there is lots of encouragement about maintaining garments, purchasing

46 |

high-quality sustainable garments, upcycling, and purchasing second hand. If many follow this advice, net apparel waste will reduce and the sustainable market will grow. But the landscape without a trend cycle will likely not look much different than the current scene. Already strong aestheticism on TikTok and Instagram exists, permeating not only fashion but lifestyle. Cottagecore enthusiasts not only laud muted pinks, off whites, and creams in their dresses but in their duvets and paint colors. This aestheticism has robust roots that are not prey to changing trends. But those who don’t follow an

aesthetic may find themselves returning to their tried-and-trues. The “it” girl may be embracing her best interpretation of the blue jeans, white shirt combo, an accessible shift that can boost followers. While the disappearance of trends seems astounding, it is only indicative of overarching social movements. The sustainable movement has been forcing consumers to consider the greater environmental impacts; aestheticism entices people with a holistic, defined framework. Fashion followers have been aching for pieces with longevity, and the answer may just be already here.


DISAP

PEAR 47 |


ABSENCE

TIMELESS LONGEVITY

48 |


49 |



THE

REAL

HOUSEWIVES

PLUTO

OF


diversity in our identities is what defines us diversity in our identities is what defines

diversity in our identities is what defines us diversity in our identities is what defines us

52 |


diversity in our identities is what defines us diversity in our identities is what defines us

P

ersonal style is everything. It’s a way to creatively show the world who we are by what we wear and how we style it. Having a strong personal style is a great way to combat the ever-quickening trend cycles that are extremely harmful to the environment as well as to creativity within the fashion industry. Because trends are going in and out of fashion so fast, such as Vogue proclaiming that the 2014 Tumblr girl is back in style just eight years after the fact, when normally the trend cycles range from around 20 or so years in time, companies are making cheap and lower quality pieces that do not last. Often, microtrends that were all over social media six months ago are now deemed unstylish, which means these pieces are more likely to end up in a landfill. Developing a defined personal style can help those with a strong sense of what they like to be less willing to participate in the fleeting trends, and more likely to only purchase

things they intend to wear long term. Finding clothes that represent us can be difficult, but experimenting with different styles until we do can be like finding the missing puzzle piece after years of searching. Personal style allows one to be confident and comfortable in their own skin. Feeling good about what we wear can enable us to be our best selves and in general, more positive people. Confidence through clothing means confidence in ourselves. It takes courage to present ourselves so openly, but when we do, there is a potential for happiness and fulfillment within that part of ourselves. In addition, when the brands align with beliefs, it is much easier to feel good in that clothing – if the piece was made unethically or unsustainably, one consciously makes a negative contribution to the world by buying from a questionable brand. However, buying from a brand that has a purpose and

mission that we also believe in can provide us with a sense of pride in the clothes that we are wearing. Unfortunately, not everyone is able to harness the positivity and benefits of cultivating a personal style. There is an incredible amount of privilege required to dress in a way that echoes the runway or is very extravagant and ‘out there’. When someone is perceived as outside the norm, potentially in more than one way, they are more likely to be oppressed for their differences. One example was when Cierra Boyd, a Black female designer from Cleveland, OH, created a corset made out of sneakers and was ridiculed across Twitter and social media, but then big brands went on to copy her designs. The fashion influencers that are getting recognition for their ‘unique’ style, especially on social media platforms, almost all fit the conventional beauty standards: white, feminine, thin, and wealthy. On the flip side, the aforemen-

53 |

diversity in our identities is what defines us diversity in our identities is what defines

BY KATHERINE PIETRANGELO


photographed by: Aanya Jain head stylist: Sophia Newman modeled by: Aseret Hesse, Geneva Mazhandu layout by: Olivia Childress, Skye McLaughlin

54 |


55 |


tioned trendsetters are getting called out for their ‘ridiculous’ or ‘satirical’ style and their way of putting pieces together, but there’s a historical understanding that the way they are dressing now will be trending in a few years or even a few months. This privilege needed to gain proper recognition involves one’s identity and financial standing, among many other factors. If someone is already in a position where their identity is being targeted like one’s race, gender identity, sexuality, etc., dressing ahead of current trends that have not been normalized quite yet places people in a position where their personal

safety could be put at risk. This is especially true depending on location and where someone lives – metropolitan areas are usually much more accepting of differences as cities are highly populated and therefore have an increased amount of diversity. Rural areas lack those differences and usually do not have the accompanying, more accepting viewpoints, so individuals who live in those places are at more of a disadvantage. Additionally, having a strong personal style can get expensive. Being able to afford a collection of clothes that reflects one’s personal style is a huge privilege. Even shopping secondhand can be difficult as there

is limited access to vintage due to older clothing mostly being available to thinner sizes. Thrift shopping can also be difficult as it takes time and effort to curate a thrifted wardrobe that represents us in the way we want. Having a strong and defined personal style is such a gift and can help someone become more themselves, so everyone should have the opportunity to safely express themselves in any way they choose. Embracing and appreciating our differences allows for more creativity and ideas to flow – diversity in our identities, both internal and external, is what defines us.


57 |


58 |


Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.