SHEI Digital // Vol. 4 Iss. 6

THE MAXIMALISM ISSUE | MARCH 2018

DIGITAL VOLUME 4 | ISSUE 6

DIGITAL EDITOR-IN-CHIEF Maggie O’Connor

IN THIS ISSUE

CREATIVE DIRECTOR Shannon Maiers FEATURES EDITOR Amber Mitchell FASHION EDITORS PRINT Liv Verlande Alana Valko DIGITAL Blake Pittman DESIGN EDITORS PRINT Katie Beukema Xinyi Liu DIGITAL Aliya Falk PHOTO EDITORS PRINT Ryan McLoughlin Benji Bear DIGITAL Mackenzie King VIDEO EDITOR Paige Wilson DIGITAL CONTENT EDITOR Elena Odulak PUBLISHER Lauren Ayers ACCOUNTS DIRECTOR Sabrina Zayek MARKETING DIRECTOR Carly Dineen-Griffin

02. masthead

18. force of nature

04. from the desk of the editor-in-chief

30. pin up

08. earring disruption 16. the case for showing it all

32. student spotlight 38. all grown up 46. gucci’s silver spoon

ADVERTISING COORDINATOR Ellen Toal DISTRIBUTION COORDINATOR Christi Suzuki FINANCE COORDINATOR Connie Zhang

.

EVENTS COORDINATOR Allison Powell OUTREACH COORDINATOR Kristin Swad SOCIAL MEDIA COORDINATOR Serena Pergola

Our mission is to inform, inspire and engage deeply with the University of Michiga provide a marketable media platform for students to push the boundaries of what

Index | Volume 4 Issue 6

48. ultralife 60. three glitter looks 66. eye-vant-garde

an campus community at the intersection of student and professional life within the fashion industry. SHEI Digital is intended to t has traditionally been possible within print without compromising the level of quality associated with the SHEI brand.

DIGITAL

march contributors FASHION Alexa DeFord Paris Morris Susie Meaney Molly Shulan Jess Peterkins Amreen Kanwal Robina Rranza Adam Van Osdol Francesca Romano Elizabeth Haley Jane Wilson FEATURES Tina Yu Hannah Harshe Sean Tran

Alexander Plosch Sophia Jaskoski Jenny Ruan Olivia Gregg Kelsey Knickerbocker Cat Marchenko Rosalie Li Juan Marquez Sean Tran Courtney O’Beirne Jenny Gryka Sophie ReVeal Ella Jermyn Phoebe Danaher

PHOTO Michael Barsky Tina Yu Francesca Romano Robina Rranza Derrick Lui Eliz Akgun

Mackenzie King Lingene Yang Sam Plouff Dana Dean Katie Corbett

VIDEO Bethany Lehman Hayley Danke Lauren Day Mariana Ruiz

Rosalie Li Cat Marchenko Claire Plump

DESIGN Aliya Falk Manda Villarreal Paige Wilson

Carla Borkmann Elizabeth Marics

MODELS Alexander Mize Chau Le Jasmine Smith Peter Tirella Christine Montalbano

Emily Munch Melody Cutting Ilma Bilic Jenny Ruan

Playing Havoc, SHEI Fall 2017 now available at our online store

THE MAXIMALISM ISSUE taking risks; experimenting with more

written by Maggie O’Connor photographed by Eliz Akgun layout by Aliya Falk

Letter from the Editor | Volume 4 Issue 6

F

o r t h e m o n th of Ma rch , we wa nt ed to th i n k a b o u t ho w we co u l d em brace maxi m a l i st t re nd s i n fa sh i on . As we b e g a n p ro d u c ti o n o n thi s i ssu e, New Yo r k Fa sh i o n Week was wel l un der way.

P h il i p L i m a n d Ca l v i n Kl ei n sho wed bold p at te r n m i x i n g . Ma rc J a co b s di s played au d a c i o u s , 8 0 ’s- i n sp i red sh o u l der pads an d h a t s . To m Fo rd sen t mod el s out on th e r u n w ay i n stri k i ng a n i ma l p ri n t suit s.

S ever a l w eek s l a ter, Gu cci produced a b re a t h t a k i n g sh o w a t Mi l a n Fashion We e k . In a d d i t i on to d el i veri n g Al essandro M ic h el e’s si g na tu re Gu cci ma x i m alism, th e c o l l e c t i o n wa s g a rni shed wit h s h o c k i n g h ea dwea r, mo d el s wh o walked wi th a rep l i c a of thei r o wn h ea d i n hand, an d , o f c o u r s e, a b a by d rag o n .

Th e w ay i n wh i ch th ese designer s an d o t h er s e m bra ce a bsu rdi ty i s t ruly in s p i r i n g . Oft en ti mes, we as student s d o n o t g i ve ou rsel ves th e l i ber ty to be g au dy, f l a s h y, a n d d a ri n g i n h ow we s t yle o u r sel ves. In thi s i ssu e, we want to cel eb r a t e r i sk - tak i ng wi th fa sh i on. We wan t to g i ve you , o u r rea ders, ou r version o f th ese t re n d s. We wa n t thi s i s sue to s h o w t h a t t h ey a ren’ t a n d sho u l dn’t be re s t r i c t ed to t he run way s—tha t they can o f t e n b e f o u n d wi th i n you r o wn cl oset .

In t his issue, we explore how b ig , b rig h t jewelr y can make a st at emen t [ Earrin g Disrupt ion, pg. 8]. You will re ad ab o u t Gucci’s recent par t nership w ith th re e Michelin st ar chef Massimo Bo ttu ra [Gucci’s Silver Spoon, pg. 46]. You w ill s e e how br ight color s and int ricat e p atte rn s can complement one anot her tas te f u lly and f abulously [f orce of nat ure, p g . 18] .

I am incredibly proud of t he c o n te n t in t his issue. The passion and w o rk e th ic of our members never ceases to am aze me. I hope t his issue inspires you to p u s h yourself not to hold back, both in h o w you dress and how you live. Re ad th e s e pages, let your self get lost in t he w o rld o f maximalism and embr ace t hat s o m e tim e s more really is more.

EARRING DISRUPTION DIRECTORS Alexa DeFord Paris Morris STYLISTS Susie Meaney Molly Shulan Jess Peterkins Amreen Kanwal MAKEUP ARTIST Susie Meaney MODELS Christine Montalbano Emily Munch VIDEOGRAPHER Bethany Lehman PHOTOGRAPHERS Michael Barsky Tina Yu PHOTO EDITOR Michael Barsky LAYOUT Aliya Falk

Turtlenecks - Urban Outfitters Earrings - Tuleste

The Case for Showing it All T

here is something breathtaking about the universal nature of human experience.

Chrissy Teigen earned $13.4 million in 2017, making her the world’s third highest-paid model of 2017. She’s been everywhere, from the cover of Cosmopolitan and the Sports Illustrated swimsuit issue to campaigns for Nike and Billabong. She’s married to ten-time Grammy winning musician John Legend. And, in February, she complained on Twitter that her husband often takes her phone chargers and brings them to work.

“Yes @johnlegend I buy and leave all the phone chargers all around the house just so you can unplug them all and take them to work with you. all of them!” she tweeted. “I love that you love chargers! They’re all for you! I just love you that’s why I buy them. Because you love them!”

There is nothing groundbreaking about a woman’s sarcastic comments regarding her husband’s use of her phone charger, yet over 400k people liked this tweet. Why? Because Chrissy Teigen is a gorgeous multi-millionaire model

and, simply by posting on the Internet about the mundanities of everyday life, she proved that every single one of us has something in common with a gorgeous multi-millionaire model.

I love stories. I’m not great at reading them, thanks to my wandering mind and poor attention span, but I have found that almost every story is worth struggling through to the very end. The quintessential purpose of storytelling is to assert that human beings have more in common with one another than you originally thought. They make you take a character with whom you thought you would never empathize—perhaps a murderer like Raskolnikov in Crime and Punishment, or a rich party-thrower like Jay Gatsby in The Great Gatsby—and, after stepping into their shoes for a few hundred pages, you realize that you have quite a bit in common with them. At his core, Raskolnikov is struggling to find his identity in this world, and Gatsby wants

a particular woman to fall in love with him. No matter how different the courses of our lives might be, we’re all just humans.

In the past decade, we have been introduced to a new form of storytelling: social media.

This form of storytelling puts less emphasis on plot than literature does. Instead, it focuses on character and sensory details. Thanks to social media, celebrities are no longer flat characters who grace the covers of magazines and have little connection to us “real people.” They are fully developed human beings, with backstories and motivations and real lives full of sensory details.

On social media, I can find a picture of Miley Cyrus on the toilet, a video in which Kylie Jenner explains how many burgers she’s eating due to her pregnancy cravings, and a tweet in which Chrissy Teigen complains about her husband taking her phone chargers. When you see celebrities in this light, they step off of the glossy magazine cover and grow into living, breathing humans.

The rise of social media has given way to the fear of oversharing (a term that was hardly used before the early 2000s). Kim Kardashian posts photos of her daughter, her breakfast, and her daily outfits, and the world laughs at her. Why do you care what she wears every single day? Apparently, some things are just meant to be private.

But nobody batted an eye when, in the first two paragraphs of Gone With The Wind, Margaret Mitchell described everything from Scarlett O’Hara’s “new green flowered-muslin dress” made with “twelve yards of billowing material over her hoops” and her “flat-heeled green morocco slippers her father had recently brought her from Atlanta.” Nobody accused her of oversharing, or claimed that because we don’t know Scarlett O’Hara personally, we don’t care about the color of her dress. When it comes to fictional characters, we immediately recognize the value in hearing the mundane details of their daily existence.

If it’s important to hear small details about the lives of fictional characters, then aren’t the mundanities we see on Instagram even more important? After all, Instagram posts are snapshots into the lives of real people. Twenty

years ago, I would have only known what my family and the characters I read about in books consumed for breakfast. Today, I’m offered a window into the story of a person I don’t even know. To me, seeing what a real person ate for breakfast is infinitely more valuable than hearing about what a fictional book character ate for breakfast.

Once you’ve established enough details about your character, your reader will begin to empathize with him or her. This is one of the basics of storytelling. If the reader just knows that the character killed someone, the story has no value because the reader probably can’t empathize with a murderer. But if the reader knows that the character is a former student, is incredibly sick and thin, and his sister is engaged to someone he doesn’t like—now the reader knows enough about this character to want to know why he would kill someone.

Take singer Demi Lovato, for example. She has been extremely open about her struggles with bipolar disorder, bulimia, and self-harm. Is this oversharing? Perhaps. But Demi Lovato posts pictures on Instagram nearly every day. People care about her. They’re invested in her story. She has an opportunity for people to listen when she says, “If you are struggling today with a mental health condition, you may not be able to see it as clearly right away but please don’t give up – things can get better.” These conversations used to only occur within the smallest of circles, and today they occur on the largest scale possible, allowing every person access to a wide range of nuanced perspectives, rather than only the perspective of those around them.

Perhaps the fear of oversharing is really just the fear of vulnerability. If more people hear your story, then more people have the opportunity to judge and criticize it. But that never stopped us from telling risky stories in the past. Social media is an entirely new platform for storytelling, but the end goal remains the same: remind one another that we’re all just human beings. (Some of us with husbands who use our phone chargers without asking). Why not take seize the opportunity to share that with people all across the world?

written by Hannah Harshe layout by Manda Villarreal

DIRECTORS Robina Rranza Adam Van Osdol Francesca Romano STYLISTS Elizabeth Haley Jane Wilson MODELS Melody Cutting Jenny Ruan VIDEOGRAPHERS Hayley Danke Lauren Day PHOTOGRAPHERS Francesca Romano Robina Rranza Derrick Lui PHOTO EDITOR Derrick Lui LAYOUT Aliya Falk

force of nature

Red Pants - Urban Outfitters Ruffle Top - Madewell Jewelry - Melody Cutting

Checker Shirt- Forever 21 Chunky Heels - Free People Zipper Skirt - I.AM.GIA.

I

’ll be the first person to admit it; when it comes to fashion, the way that I dress isn’t exactly practical. That isn’t to say that I choose style over substance, though—in fact, I’d argue that style is substance in its own right. As the Michigan winter rages onwards, draping my mom’s fur coat over my shoulders as opposed to slipping my arms through its sleeves means that though I may not be the warmest individual on campus, you can’t tell me I don’t look good. It’s little subtleties like these—what you wear, how you wear it, the way in which you present yourself—that allows someone to simultaneously add to their outfit and more vividly represent who they are as an individual.

Accessorizing has never been minimalistic; the whole process involves adding more. Thus, the more you include, the more of yourself that you are disclosing to the world. Everyday, you’re advertising yourself as an individual. Make your statement. Accessorize. Pin-up.

Back when I was a freshman in high school, I began to explore my personal style on a deeper level. This meant no longer simply being satisfied with sweatpants and one

size too large Abercrombie hoodies—I’d start to do more. In my 13 year-old mind, I was ready to conquer the fashion world, or at least, get better at playing dress-up. This would begin with a love for bow-ties. Popping up my collar, slipping the tie around my neck, fastening the two ends together (incompetent, I barely knew how to handle my shoelaces, let alone a bow-tie), I felt immediately different—I felt better. Looking at me with this clip-on bow, you could tell that I was someone that cared about their appearance. Wearing a bow-tie meant that I had to consciously put more effort into my outfits, therefore, I must have cared a little bit more about how I look. As a whole, just because of a single accessory, I distinguished myself from the other boys at my school. In my outfits is me, the bow-tie sitting proudly at the base of my neck is a bold symbol of who I present to the world. As I evolved, so did my accessories.

Incorporating more items into my everyday looks, I expressed myself more openly than ever.

Alongside bow-ties came suspenders, a fun touch of both vintagely modern and formally effortless all at once within two straps. Eventually came just suspenders on their own. There isn’t anything like ditching an ordinary belt for a pair of suspenders in order to turn a T-shirt and ripped jeans into a

personal statement. The bow-ties themselves transformed into long ribbons tied into bows à la Anime schoolgirls, making my looks just as kawaii (“cute” in Japanese) as cool. With accessories, I’ve maximized my looks to be more fashionably me. Throughout all these years, occasionally, I’d even opt to take my glasses off just because they didn’t go with the look. To the people that knew me (or any cashier that saw me squinting while attempting to read the frappuccino menu at Starbucks), I really was that person. Heck, with a lack of contacts to this day, I’m still very much so that person...and I’m shamelessly proud of it.

Perhaps the most poignant moments of my accessory evolution came during this year when I pinned-up my outfits, or more appropriately, I discovered enamel pins. In these tiny trinkets, I’m able to further express myself as the little artwork contain memorabilia from some of my favorite pop culture moments. On a surface level, the pins were a cute touch to an already polished outfit.

More subtle than ever though, you would have to take a closer look at them to get a better idea of who I am. My pin of a taiyaki, a Japanese cake in the shape of a fish, features a small yellow butt disguised as a scoop of ice cream. My golden heart pays homage to Clueless’s Cher Horowitz

and her iconic “Ugh, as if!” By rather literally pinning-up my outfits, I can bring my looks to an additionally intimate level. These pins aren’t just uselessly decorative chachkis, they’re invitations to get to know me in greater detail. More than maximizing how I look, accessories maximize who I am.

Adorned by various accessories, I’ve pinned up my own personal qualities, whether it be a sense of humor, a variety of interests, or even hints to my romantic endeavors. The impact that these little trinkets have on my outfits may not be immediately noticeable, but they each play their part. Maximalism means being bold, doing more, putting more of yourself out there.

Although the elegant Coco Chanel says to “look in the mirror and take one thing off” before you leave the house, I say to do the opposite. Too many things may get busy, but as someone who tends to overshare everything he does (including his outfits), expressing yourself can never be too much.

Pin-up.

written by Sean Tran layout by Paige Wilson

STUDENT SPOTLIGHT: KIARA WILLIAMS

N

ow a junior in the University of Michigan’s School of Music, Theater and Dance, Kiara Williams began dancing when she was just three years old. Through elementary, middle and high school Williams competed in competition dance and first began to develop her own choreography in 8th grade.

As a sophomore at Michigan, Williams was enlisted to help choreograph dancers from the department in a section of the halftime show during the football game against Wisconsin. Williams sat down with SHEI and discussed how she got here and her hopes to pursue dance after she graduates.

SR: When did you first decide that you wanted to pursue dance in college and what did your family think?

KW: I decided I wanted to study dance in tenth grade, I think. That’s when people start talking about college, I realized I hated everything that wasn’t dance. I remember going to the library and getting a career book, because I was like ‘I don’t know what I want to do with my life, and this stuff sucks.’ My parents have always been supportive, especially my mom, because she loves dance and theater and stuff, but the only thing was I couldn’t go to a school that was just arts. I had to go to a school that also had academic requirements, which I didn’t have a problem with because I do enjoy taking classes outside of dance.

SR: Tell me about the dance program at Michigan.

KW: The dance program is really rigorous; we’re probably some of the busiest students on campus, even though most people don’t know we exist. We have to take technique classes on top of academic classes, and then we also usually have rehearsals, whether it’s for our Power Center concert that we have every February, or if it’s for a smaller, senior concert or an individual project. But it’s really cool, you get to really be an individual as far as developing your own style of choreography and the way you want to move.

SR: What kind of dance do you do?

KW: It’s a modern department; we take modern technique classes and ballet classes.

SR: What kind of dance do you prefer to focus on?

KW: My own personal style I would say is modern with a little bit of jazz influence, because jazz is something I just like to keep in my body.

SR: Tell me about your experience choreographing. How did you end up helping with the halftime show?

KW: I choreographed a solo that I did at a composition showing at the very end of my freshman year [of college], and the faculty really liked it. When they were planning for a halftime show performance, for the football game against Wisconsin, (the fall of my sophomore year) we had a bunch of faculty members choreographing parts of it, and they wanted me to take my solo from freshman year and set that on the whole group for a section of the performance.

It was difficult to expand it to one person dancing to a group; there were definitely changes that needed to be made, with the choreography and the counts and the formations, maybe switching up the order of some things so it’s more interesting. I worked with one of my professors to brainstorm ideas about how the choreography could be broken up to be doing two different parts at the same time, and I just had one halftime rehearsal I taught it and then from then it was just practice with the rest of the choreography. I was in the performance. It was a crazy thing though; it started the day we got back of that year and it was a month of practicing everyday—in studio and on the marching band practice field. I think it went well. It was weird being in such a huge venue of sorts. I had fun, though.

SR: What does the typical dance major do after college?

KW: People have done a lot of different things. There’s someone that’s in Hamilton right now, there’s someone in Finding Neverland on tour, there’s some people that go towards musical theater and more commercial work, there’s people that model and do random stuff like that, also personal training. And then there people that are dancing in contemporary or modern dance companies. Those are more of the main goals of something that I would want to do.

And then there are other people that ended up working in arts administration, which is actually my minor. But people who are company managers of dance companies, or people that do arts administration work on the side, because that is something that helps supplement a freelance dance career. And there’s also people that have gone into “normal people” jobs, because a University of Michigan degree is still valuable regardless of the major.

SR: How do you plan to pursue dance after college?

KW: I want to live in New York. I guess after graduation to audition for as many companies and shows, anything I can, just audition and see what I can get. My dream is to get a contract with a company and be dancing with them consistently or get into a broadway show and go that route. I’m really open to doing a lot of different things. I’m hoping I can find something that has consistency, which is obviously not an easy thing, and it’s not something I expect to happen immediately.

SR: How difficult is it, what exactly is the process after college?

KW: If you’re going into a typical dance audition, you have your headshot and your dance resume, which usually lists your training, notable pieces that you’ve been in, and work experience if you have already been in a company or been in a show or something like that.

Based off of mock auditions that I have done it’s basically like taking a class, but in the situation of an audition you might get cut, and then that’s the end of that. Or some smaller companies might not hold auditions all the time, but they will have something on their website that’s like ‘send in a video.’ But a lot of stuff is based off of connections and who you know, with smaller companies instead of holding an audition, if they know they’re about to lose a dancer they might just contact somebody that they know that they already want.

SR: Do you know people personally from the program dancing professionally now?

KW: Well the people who are doing the commercial theater stuff I know that they have agents, so that’s another thing that people do. They apply to get representation. That way you have an agent that’s coming to you with auditions and opportunities, so that’s kind of a different avenue to take that presents you with opportunities more directly rather than making connections.

SR: What advice would you give someone looking to pursue dance seriously?

KW: You just have to not listen to other people. In high school, my advisor wasn’t really that into it and was like, ‘How do you know you don’t want to be a doctor? You might change your mind, so you should take this science class senior year instead of taking this other dance class,’ and I was like, ‘I hate science!’ You kind of just have to be confident in yourself—that you know what you want, even though it might change, but for the time being, if you know that’s what you want to do, you have to trust yourself.

written by Sophie ReVeal photographed by Francesca Romano layout by Aliya Falk

all grown up

DIRECTORS Alexander Plosch Sophia Jaskoski STYLIST Jenny Ruan MODEL Ilma Bilic VIDEOGRAPHER Mariana Ruiz PHOTOGRAPHER Eliz Akgun PHOTO EDITOR Eliz Akgun LAYOUT Aliya Falk

Dress - ASOS T-shirt - Marvel Comics Socks: TJMaxx

Shoes - ASOS Green Coat - North Face Skirt - Aritzia

Gucci’s ’ T

he unconventional waves of Gucci have reverberated through the fashion industry since the fashion house was established in the late 19th century. Although recently the brand’s creative director, Alessandro Michele, has taken Gucci to new levels of vibrant, floral, and, for many institutionalists, bizzare, Michele continues to coast the disruptive waves with ease and enthusiasm. His latest project exemplifies his ability to continue to break the mold of the fashion industry, however, this time, his new endeavour transcends the material realm of fashion altogether, venturing into an entirely new brand experience: Gucci Gardens.

The three floor historic Palazzo della Mercanzia turned Gucci Museum is yet again being reimagined into a creative space used to display (and sell) all things Gucci. An ironic embodiment of “Guccification,” the three floors include an elaborately decorated, bazaar-like boutique, selling items not available at any other Gucci location: a showroom displaying one-of-a-kind Gucci garments, furniture, and accessories from the brand’s archives, as well as video and musical collaborations with various artists, and a kitschy gift shop to commemorate visitors’ experience with a variety of souvenirs laden with Gucci trademarks like the snake, green and red stripes, and the unmistakable interlocking G’s. In what seems like an already sensory loaded experience, Michele once again pushes Gucci further, opening

silver spoon an attached restaurant, Gucci Osteria, headed by world renowned, 3 Michelin star chef, Massimo Bottura.

The accompanying restaurant will serve a four course tasting menu inspired by the brand. As the culinary cornerstone of the endeavor, Massimo Bottura’s energetic and vibrant cuisine buttresses Michele’s vision of recreating the brand through the five senses. Bottura got his start as a young student studying law, when by chance he was offered to purchase an abandoned storefront in his hometown in Italy. A week later, he opened his first restaurant, Trattoria del Campazzo. His true fame, however came upon opening, Osteria Francescana in Modena, Italy. At his new restaurant, his artistic vision was to reimagine Italian cuisine, a task that came with many skeptics and even more opposition. Many called his endeavour in challenging the “grandmother’s recipe culture” of Italian cooking “culinary sacrilege.” Despite this initial criticism, Bottura paved a way to modern italian cuisine by paying homage to traditional Italian fare while reinventing the culinary form.

Bottura also created culinary shockwaves when he ventured into the nonprofit world, creating gourmet soup kitchens in Milan, London, Rio de Janeiro, and many other largely populated cities, with food left unsold from markets. The international undertaking, named Food for Soul, is the essence of Bottura’s ambition to create more awareness about food waste, hunger, and poverty.

It is apparent then, why, besides being childhood friends, Gucci’s CEO looked to Bottura to lead the way into recreating the Gucci brand through food. Batura and his cuisine embody the Gucci image; they are both bold, artistic, and often touched with humor (Batura’s most famous dish is “Oops! I dropped the lemon tart,” a lemon tart that, as the name indicates, is smashed onto the plate). The new menu of the intimate 50-seat Osteria echos Bottura’s previous creations. While the menu includes classic Italian dishes such as Parmigiano Reggiano tortellini and mushroom risotto, dishes hailing from across the globe find themselves on the menu. Peruvian tostadas and pork buns inspired by Japanese cuisine serve to enhance the tone of the menu. Colorful and eyecatching dishes that simultaneously underscore respect for Italian traditions epitomize Gucci’s efforts to stay true to their brand, while continually pushing its own limits. What results is a restaurant and experience, that embodies ingenuity and celebrates excessiveness—two defining qualities of the Gucci brand. By venturing into the realm of food, Gucci opens the gates to exploring its brand image as something more than what we see on the runway. Instead, Gucci is lavashing in itself and for that “more is more” attitude. Yet again, Gucci flaunts its ability to reinvent its brand, while simultaneously remaining purely itself.

written by Ella Jermyn layout by Carla Borkmann

ultralife

DIRECTORS Juan Marquez Sean Tran STYLISTS Courtney O’Beirne Jenny Gryka MODELS Alexander Mize Chau Le VIDEOGRAPHER Claire Plump PHOTOGRAPHERS Sam Plouff Dana Dean Katie Corbett PHOTO EDITOR Sam Plouff LAYOUT Aliya Falk

I

f we can all agree on something, it’s that glitter is fun. Wearing glitter makes you feel like a beautiful disco ball. But there are two big issues with wearing glitter as makeup: 1) It often looks like too much and 2) It can be horribly difficult to work with. I never wore glitter until I found the right products, and the proper amount of glitter to actually put on my face at one time. I created three distinct eye looks, from natural to dramatic, that are both easy to wear in public and quick to apply. In these tutorials, the focus is on the shape and the application, not the color. I’m applying the products that I like, but in each look I’ll tell you why I’ve chosen them so that you can find what works for you.

three glitter looks

1 • barely there This look is all about simplicity. I start with some Urban Decay Eyeshadow Primer Potion on the lid and crease. I swipe my Bite Beauty Prismatic Pearl Multistick in Oyster Pearl, a “metallic taupe with silver shimmer,” over my eyelids and work it in with my fingers.

In effect, this product is a subtle shimmer almost the same color as my skin, with only a slight noticeable sparkle. Any cream shadow close to your skin tone works as long as it has a bit of sparkle to it.

Then, I apply a small amount of Stila Cosmetics Glitter and Glow Liquid Eyeshadow in Kitten Karma, which Stila calls a “champagne with silver and copper sparkle.” Like with the Paint Pot, the point is to have a product that is about as light as my skin tone, with only the dimension itself standing out. I finish the look with a smudgy line of Colourpop Super Shock Shadow in Sequin and a coat of MAC Extended Play Lash Mascara in Endlessly Black.

This look is about as light and natural as it gets when wearing glitter. It says, “I like a little fun, but no jewel heists.” It’s so easy to apply, especially with the easy cream products, and aside from the mascara, I applied every product with my fingers!

2 • warm tones For a look with a bit more excitement, I started with the same Urban Decay primer (a necessary step for deep-set or hooded eyes) and a a layer of MAC Pro Longwear Paint Pot in Vintage Selection, which MAC describes as a “frosted dirty peach.” It is very similar to the Bite Beauty Multistick, but a bit lighter and sparklier. Then, using a pencil brush, I made a diffused line along my lashline of Tarte Chrome Paint Shadow Pot in Fire Dancer, a metallic burgundy. This is another amazing product, since it is one of the loudest and most vibrant eyeshadows on the market, but is another cream and can be applied with the finger. Over that, I diffused a soft cloud of a shimmery orange-red from NYX Cosmetics’ Happy Birthday Palette, which is no longer available, but is a common enough shade that I’m sure there are many similar colors at the drugstore. Next, I define the lashline with Smashbox Always Sharp 3D Liner in 3D Gemstone, a “midtone brown berry with gold pearl,” according to their website. Then, I put a spot on the center of my eyelid of Stila’s liquid glitter eyeshadow, but this time in Rose Gold Retro, a “rose gold with a silver sparkle.”

Finally, I have a bit of my standby Extended Play mascara, and I’m done! Of all the three looks in the palette, this is the one I consider most variable. I chose red tones because they accentuate my green eyes, but you can choose colors as zany or as conventional as you want while still having them resemble this kind of look. While I would recommend using a brush with this look, you could probably also do it with just your fingers.

3 • more drama This look is what you might think of as “nighttime makeup.” It’s a bit more sultry and intense than the first two looks. For this look, I started with the same primer in the crease, but after applying and removing two glitter eye makeup looks in about half an hour, my eyes were feeling it. So, I caved and rubbed onto the mobile lid the tiniest amount of Weleda Skin Food, which is exactly what your skin needs when you feel like Lady Macbeth trying to wash the blood off of her hands. Except this is glitter on my eyes. And, to be honest, the rest of my face too. To start off, I applied a cool brown-purple shadow in my crease, and then a darker purple-brown shadow on my lid. Then, I took my last beautiful Stila liquid eyeshadow, and drew all around my top and bottom lid. This shade is Smoldering Satin, a “deep tan with silver sparkle.” On the darker backdrop of my nowpurple eyelids, it stands out in an amazing way. To make this look a little more defined, I used Prestige Cosmetics’ Triple Line Ink Pen, a three-pointed eyeliner that you can squeeze between your eyelashes for a no-eyeliner eyeliner look. I drew the smallest line under my eye with Kiko Milano Multicolour Glitter Eyeliner in 06, then ended up going over it with No7 Shade and Define Crayon in Gunmetal Grey.

Last, I used the same MAC mascara, but this time on my *gasp* top and bottom lashes! Sometimes you have to go outside your comfort zone.

Glitter is amazing to use as makeup because there’s no question about why you’re wearing it. It makes you look bold and confident, something we all could use a little bit of.

written by Phoebe Danaher photographed by Cameron Hunt layout by Elizabeth Marics

Eye-vant-gard

DIRECTOR Olivia Gregg STYLISTS Kelsey Knickerbocker Cat Marchenko Rosalie Li MODELS Jasmine Smith Peter Tirella VIDEOGRAPHERS Rosalie Li Cat Marchenko PHOTOGRAPHERS Mackenzie King Lingene Yang PHOTO EDITOR Lingene Yang LAYOUT Aliya Falk

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