SHEI Digital // Vol. 5 Iss. 2

Digital

Volume 5 | Issue 2

who’s on staff? editorial EDITOR-IN-CHIEF Liv Velarde CREATIVE DIRECTOR Paige Wilson FEATURES EDITOR Amber Mitchell PRINT FASHION EDITORS Elena Odulak Alana Valko DIGITAL FASHION EDITOR Alexa DeFord PRINT DESIGN EDITORS Katie Beukema Xinyi Liu

business PUBLISHER Serena Pergola ACCOUNTS DIRECTOR Connie Zhang

DIGITAL DESIGN EDITORS Aliya Falk Manda Villarreal

MARKETING DIRECTOR Christi Suzuki

PRINT PHOTO EDITORS Kenzie King Becca Rudman

FINANCE COORDINATORS Savannah Klein Ella Radice

DIGITAL PHOTO EDITOR Francesca Romano

EVENTS COORDINATOR Courtney O’Beirne

STREET STYLE EDITOR Evan Parness

OUTREACH COORDINATOR Ellie Benson

MANAGING PHOTO EDITOR Benji Bear

ADVERTISING COORDINATOR Claire Dickerson

VIDEO EDITOR Rosalie Li

DISTRIBUTION COORDINATOR Colleen Jones

DIGITAL CONTENT EDITOR Emily Benderoff

SOCIAL MEDIA COORDINATOR Molly Shulan

ILLUSTRATOR MANDA VILLARREAL

SHEI /’sh(ay)/ Magazine was founded in 1999 as an Asian Pop Culture Magazine and became affiliated with University of Michigan Student Publications in 2013.

Our Digital Magazine, known as SHIFT at the time, was launched in 2015. Since then, SHEI has grown to campus wide recognition as a publication that students can come to for fashion, art, and culture commentary and inspiration.

MASTHEAD 0 LETTER FR

CONTORTIO FLU STREET STYL A

FULL G

in this issue

PH REPRESENTA

STUDEN CIVIC

02 ROM THE EDITOR 06 MILKY 08 ON 22 UIDITY OF FABRICS 42 LE: WARMER WEATHER 50 A WORLD WITHOUT MIRRORS 60 FOUND OBJECTS 64 FALLING IN 70 GLAM 72 A SNEAKER BY ANY OTHER NAME 78 HOTO ESSAY: STAND WITH SURVIVORS 84 ATION IN STREETWEAR 96 SHARE YOUR CLOSET 100 DRIP DROP 114 NT SPOTLIGHT: ADRIANNA KUSMIERCZYK 122 C ENGAGEMENT AND THE ARTS 134

letter from the editor

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This month, as our new staff members settle in and we frolic in all things October and cliched, we’re thinking about what it means to be in the liminal space, to occupy both sides of a boundary and neither at all. Fall is consistently the season of change: the leaves, the weather, election changeovers, but how we confront that change is what defines us. It’s often a slower process than we want it to be and the awkward in-between stages are both terrifying and motivating, enchanting and paralyzing. They are moments where we can prove ourselves or sink back into frustration. Fight or flight, the most human instincts.

One relevant movement that many fashion members drew inspiration from is gender neutral clothing. “Share Your Closet” on page 100 provides us with the ways that an individual personality – regardless of gender identity – makes the exact same outfit stand out in an entirely new way, clothing does not have a

gender and you don’t need to don giant, gray sacks in order to prove that point. In a more drastic visual change, check out “milky” on page 8 to find two oscillating models embellished with makeup inspired by the drag queen Milk. On page 64, “Found Objects” shows us how everyday items can be the finishing touch on a high fashion ensemble.

To consider our current stage of fashion evolution, we research the far and near history of the “sneaker” on page 78 and what it signifies when the notoriety of an item takes over its meaning until it means nothing at all. And to wrap up all of the transitional vibes, you can find the perfect playlist to satisfy that classic fall feeling on page 70.

Flexibility is a virtue and I wish you luck and as you try to go with the flow, but don’t get frustrated if it takes a little longer than expected.

Liv Velarde Editor-In-Chief

milky

DIRECTOR JUAN MARQUEZ STYLISTS JENNY GRYKA JASMINE SMITH MODELS MELODY CUTTING ASA HUFFACKER PHOTOGRAPHERS JULIA DEAN ROBINA RRANZA VIDEOGRAPHER HAYLEY DANKE GRAPHIC DESIGNERS ALIYA FALK PAIGE WILSON

Checkered Jacket - Wild Fable Orange Trenchcoat - New York & Co.

Shoes - Vans Orange Belt - FILA Orange Jumpsuit - Fenn Wright & Manson

Blue Belt - Fashion Nova Blue Pants - Jaclyn Smith

DIRECTOR JESSICA PETERKINS STYLISTS ANISH BASAVALINGIAH RACHAEL CURRY MODELS SALLY BUTIN ANNIKA NORDEN PHOTOGRAPHERS ELIZ AKGUN SAM PLOUFF VIDEOGRAPHER EMILY KOFFSKY GRAPHIC DESIGNER ALIYA FALK

CONTORTION

Leotards - Capezio

Black Jumpsuit - Emma’s Closet Light Jumpsuit - Forever 21

Dress - Alexander McQueen

THE

REIGN

MICHIGAN POPS ORCHESTRA

OF

POPS M I C H I GA N T H E AT E R N OV E M B E R 18 , 7 P M

$5 for Student, $8 for Adults Students K-12 and Seniors 65+ FREE Tickets sold at Mason Hall 11/12 - 11/16, at ticketmaster.com, and at the door Find out more at www.michiganpops.org P HOTO BY B E N H S U

Fluidity of Fabrics

DIRECTOR ELIZABETH HALEY STYLISTS NICK FARRUGIA LILY MCCANN MODEL CAROLINE LOGUE PHOTOGRAPHERS ANURIMA KUMAR MICHELLE LIN VIDEOGRAPHER MAHERU JAHANIA GRAPHIC DESIGNER MANDA VILLARREAL

Chiffon Fabric - Casa Collection, Joann Fabrics

Silk Fabric - Casa Collection, Joann Fabrics

Nude Top - Urban Outfitters

Nude Underwear - Daisy Fuentes

STREET STYLE warmer weather

PHOTOGRAPHERS EVAN PARNESS MOLLY BOKOR LUCY CARPENTER SAM GOLDIN GRAPHIC DESIGNER ALIYA FALK

JEREMY CLEMENTE @jerclemente MARA MOLDOVAN @maramoldovan

RUBANI WALIA @walia.r

MAC VAUGH @macmacvaugh

BRETT GONTE @brettgonte

DREW STARK @_drew_stark

NAOMI SHAND @shandnaomi

KABIR OTUN

MIA WILSON @onlytariah

CARSON HART @carsonhart

STEPHANIE FOX @stphfox

KHADIJA WILLIAMS @baldie_dija

A World Without Mirrors Without World A

WRITER HANNAH HARSHE PHOTOGRAPHERS ALEX ANDERSON TAYLOR KELLY GRAPHIC DESIGNER MACKENZIE SCHWEDT

When is the last time you saw yourself?

About an hour ago, as I was getting ready to trek across downtown Ann Arbor to find a place to sit down with a cup of coffee, I glanced in the mirror. Much of what I saw was out of my control. My reflection is partly a family heirloom, a combination of traits curated long before I was born. My height, for example, which I resented as an awkward prepubescent youth, is a gift from my dad that I’ve grown to appreciate, and my dark brown hair is one of the few presentations of my mom’s Filipina heritage.

Some of my reflection is my own creation. My straight hair didn’t come from either of my parents, but from the flat iron I took from my sister after she got a newer, better one. My face is, more than anything, the product of a stress-induced shopping spree that took place in the makeup aisle of Walgreens this summer combined with the hours I spent watching makeup tutorials on YouTube when I was in middle school. I wasn’t born wearing a Michigan sweatshirt and grey Under Armour sweatpants, but I chose them for myself based on

my personal aesthetic preferences and desire for coziness.

I glanced at myself, or, rather, the product of all the time I’ve put into creating myself, for all of thirty seconds before putting on my Converse and heading outside in search of the perfect soy latte.

Six hundred years ago, mirrors weren’t even a concept in the mind of our ancestors. Other than blurry glimpses in water or polished metals, we weren’t able to see ourselves. Therefore, “individual identity” didn’t yet exist as a concept.

We saw ourselves as members of a group, rather than individuals.1 Instead of looking into the mirror to see myself, I would have looked around to see those that I love That sounds like an idyllic existence, if you ask me. I would no longer be weighed down by the pressure to be. I wouldn’t have to heat my hair 400 degrees and spend $60 on makeup in order to satisfy the person looking back at me in the mirror.

As I drifted to Kerrytown for my latte, I wouldn’t compare myself to the people I see walking down Detroit Street. I wouldn’t think about who’s prettier than me and who’s smarter than me and who stayed up

studying later than I did. I would see them, all the beauty and smarts and work ethic, and think wow, I’m part of an outstanding community.

I looked in the mirror about an hour ago, but that wasn’t the most recent time I saw myself. The last time I looked at myself was about five minutes ago, when I got frustrated with studying and instinctively picked up my phone and opened up Instagram. The person I see on Instagram is both my truest self and the self with whom I’m the least familiar.

If the person I see in the mirror is about half genetic and half a product of my own decisions, the person I see on Instagram is wholly my own.

On social media, we don’t see a simple reflection of ourselves. We create a reflection of ourselves for others. At 9 PM on an October evening, when I’m ordering a soy latte and holding back tears at the daunting to-do list that stands between my warm bed and me, I have the opportunity to post away my own incompetence. The people closest to me know that my room is a mess, I haven’t been completing assignments on time, and that I eat Pumpkin Spice Mini Wheats three meals

a day. They know that my face is naturally so pink it looks sunburned and that, if I don’t use heat on my hair my hair, it’s curly in the front and straight in the back, making for a look that would disturb hairstylists to no end. On Instagram, I can airbrush these realities away and convince hundreds of people, including myself, that I have my life together.

This opportunity forces me to decide who I am, because the tired,stressed, but overall joyful girl I see in the mirror no longer has to exist. So, given the opportunity to choose, who am I? What should my bio be? Should my pictures be artistic and well-crafted, or should I use my Instagram to show that I don’t care about looks? Do I care about looks? Do I care more about the organizations I volunteer with?

I was never meant to decide who I am. It’s too great a burden to bear.

I was meant to look around, see the world, and take myself in.

mnemonic for each of the one hundred terms. Just yesterday, I stood in the kitchen of a friend’s house and didn’t say a word, just laughed at their antics and felt stress melt off of me, drop by drop.

Of all the windows through which I could see myself, that’s the window I want to choose. I want to see myself through Lili as she sacrifices her own valuable studying time to help me. I want to see myself through the goofiness of my friends.

Because while the person in the mirror and on Instagram force me to choose, to take ownership and responsibility, seeing myself through my community takes a weight off my shoulders, allows me to simply be. Perhaps we should all spend a few moments of each day existing in a world without mirrors.

The other night, I came home late at night ready to give up on school entirely because I had a French quiz the next day and couldn’t memorize the médicaments to save my life.

My roommate, Lili, sat down next to me and helped me come up with a

1

Charlie Sorrel, “How the Invention of the Mirror Changed Everything,” Fast Company, 16 Nov. 2016, https://www.fastcompany.com/3065643/how-the-invention-of-the-mirror-changed-everything.

FOUNDOBJECT DIRECTOR ALEXANDRA PLOSCH STYLISTS AMREEN KANWALL GRACE LEES MODELS CAMERON ARNOLD DARIUS MOORE SUSANNA WANG PHOTOGRAPHERS DANA DEAN HANNAH SIEGEL VIDEOGRAPHER IYAH YOUSSEF GRAPHIC DESIGNER MANDA VILLARREAL

Denim Jeans - r Sh Denim

TS

redesigned by Grace Lees heer Turtleneck - Forever 21 m Choker - Urban Outfitters

Gray Overralls - American Rag Gold Jacket - Thrifted

Yellow Pants - Fore Black Bralette - Charlotte Black Eyelet Belt - Fore

ever 21 e Russe ever 21

Falling In

An Ode To October

As September melts into October and each day draws to an earlier close, we may reevaluate what we want our days to look like. Or rather, what do we want them to sound like? The summer playlists that once complimented those sun-drenched days now hit our ears with a grating twang. Which album do we want for the shift in emotions and moods we experience as leaves hit the pavement? This time of year asks us to be malleable and embrace all of the seasonal shifts, relishing in the brief whisper of a Michigan fall before it ices into a perpetual winter. Pop beats are given some time off, and echoing riffs, ambient synths, rich chords, full bodied voices, and haunting acoustics filling the space they left. Whether you’re calculating the cost of an Uber to the nearest Cider Mill, or The Middle just doesn’t hit like it used to, I’ve got you covered with a sonic moodboard to fill your days until the 31st.

Lover Come Back-Live in Cornerbrook, NL // City and Colour City and Colour is back just in time to grace us with a season-appropriate acoustic album. Guide Me to the Light is a collection of their most cherished pieces, all recorded live for those who could not make it to their Canadian tour.

As the opening chords crawl out of your speakers, you are instantly suspended in an ethereal moment, left with only Dallas Green’s haunting vocals and delicate strumming as he reflects on love lost.

715 CREEKS // Bon Iver Bon Iver? For fall? Groundbreaking. While this playlist could be comfortably stuffed with Bon Iver’s complete discography, I kept it brief with one bold track from his latest project, 22, A Million. Engineered with a Prismizer, this track boasts a complex and layered vocal composition that sounds nearly robotic. Despite this less-than-human quality, the raw emotion behind these lyrics fights its way out through the heavy layers of vocalizing and harmonies.

This heart-wrenching prism of sounds cuts off after 2 minutes, but leaves an echo and impact that will last much longer.

WRITER SUSIE MEANEY GRAPHIC DESIGNER CARLY LUCAS

Alone/With You // Daughter Daughter is another artist whose body of work could be accidentally left on repeat from September-November and never feel out of place. While it was difficult to include just one track, Alone/With You follows up 715 CREEKS with a moody staccato and rich reverb that feels so right on a particularly cold afternoon. Honest and vulnerable lyrics build and combine to produce an evocative story that unfolds and intensifies throughout each verse.

Shrike // Hozier Hozier is back with a brief, yet meaningful EP complete with the sounds that we deserve. Shrike may just be the softest track out of this collection, the Cherry Wine of 2018. The touching lyrics are delivered in bouts of rich cries, soft falsetto, and a hint of the Irish accent that no Hozier song is complete without.

Walls // Lumineers Just a few weeks ago, the Lumineers put their soulful, acoustic touch on Petty’s light and playful classic. This warm, folk song establishes itself as a fitting and full-bodied acoustic track that pays a touching tribute to Petty while delivering the Lumineers sound that fits just right into this season.

Real Love Baby // Father John Misty Coming out of a melancholy tailspin, it may feel like this playlist registers more as a break-up collage rather than an ode to this beautiful season. In order to lighten the load, I invited Father John Misty to inject this playlist with some necessary optimism. It’s impossible to listen to this tune without mindlessly nodding along.

FULL GLAM

DIRECTOR SEAN TRAN STYLISTS CASSIDY CAULKINS ABBY ZIEMKOWSI MODEL ALEXANDRA HUYNH PHOTOGRAPHERS MAYA BALLESTER ANDY REGOS GRAPHIC DESIGNER ALIYA FALK

ANY OTHER NAME TheThe general consensus of the definition of the sneaker, according to three general consensus of the definition of the sneaker, according to three different dictionaries, a sportingshoe shoewith witha arubber rubber sole sole with with an an ethos of different dictionaries, is is a sporting motion. To To those those who whodon’t don’tfollow followstreetwear streetwearororexperimental experimentalmenswear, menswear, I of motion. wouldn’t blame you if you thought that simple definition was relevant I wouldn’t blame you if you thought simple definition was relevantininour those who whopossess possessananinsightful insightful ourmodern modern landscape. landscape. However, However, for those eyeeye for for trends, concept sneaker undergone a massive distortion in the trends , thethe concept of of thethe sneaker hashas undergone a massive distortion in the high fashion scene. high fashion scene. origin of the “original” sneaker is murky as murky as the waters inspired TheThe origin of the “original” sneaker is as as the waters thatthat inspired their moniker.

In the early 1870’s, rubber soled shoes, commonly called plimtheir moniker. In the early 1870’s, rubber soled shoes, commonly called plimsolls after Nicolette Jone’s seafaring book, Plimsole Sensation, became solls after Nicolette Jone’s seafaring book, TheThe Plimsole Sensation, became exceeding popular.

Much plimsoll a boat, a wearer risked peril exceeding popular Much likelike thethe plimsoll lineline on on a boat, a wearer risked per(albeit of a less dire nature), if water rose above the “plimsoll” line that stitched il (albeit of a less dire nature) if water rose above the “plimsoll” line that the rubber sole tosole the canvas , the 1917 sneaker stitched the rubber to the upper. canvasAround upper.1917 Around , theofficially sneakerreceived offiits cross, when Keds released the Champion “sneaker” .

Although the(alterm cially received its cross, when Keds released the Champion “sneaker” had been usedhad as been far back as 1887 , its usage was quite limited Keds). though the term used as far back as 1887 , its usage wasbefore quite limpassedDecades and scores more fashion opened houses up theiropened doors, alitedDecades before Keds). passed and scoreshouses more fashion though often dipping their toes into urban culture and sneakers without truly up their doors, although they often dipped their toes into urban culture and committing to offering their owntoiterations.

It wasn’t 1984 when Gucci sneakers without truly committing offering their own until iterations.

It wasn’t dropped the Gucci Tennis that we began to see divergences from the sneaker’s until 1984 when Gucci dropped the Gucci Tennis that we began to see diverstatusfrom quo.the While being exorbitantly they still more offered most of gences sneaker’s status quo.more Whileexpensive, being exorbitantly expenthethey utility required. sive, stillsneakers offered most of the utility sneakers required. This was just the beginning for sneakers…

At offered thethe customer At one onepoint pointinintime, time,allallsneakers sneakersofofallallprice pricepoints points offered customer similar features.

From Vanstoto Valentino,a acompany companythat thatwanted wantedtotooffer offeraa similar features. . From Vans Valentino, sneakerwould woulddesign design(at (atleast leastvisually) visually)one one ininwhich whichphysical physicalexercise exercisecould could sneaker be performed.

Whether it was basketball, soccer, skating, or running, sneakers be performed. Whether it basketball, soccer, skating, or running, sneakin mainstream culture had had the aesthetic of being for sporting purposes. ers in mainstream culture the aesthetic of being for sporting purposes. problem with a status quo that there willalways alwaysbebethe theradical, radical,the the TheThe problem with a status quo is is that there will experimental that grow disillusioned and instead choose to go against the grain experimental, and the unorthodox that grow disillusioned and instead choose theagainst mainstream.

These people chose toThese innovate and transform world toofgo the grain of the mainstream. people, chose to the innovate around them to align with their own vision.

Your Diogenes and Dunchamps, and transform the world around them to align with their own vision. Your Dioor in this your Margielas and Kawabukos grew weary of what they saw genes andcase, Dunchamps, or in this case, your Margielas and Kawabukos grew as fashion and they decided a new path.

By notomeans I claiming these weary of what sawtoastread fashion and decided walk aam new path. By no designers were the first to reject the mainstream incarnation of the sneaker, means am I claiming these designers were the first to reject the mainstream with countless designers norms designers before any subverting of the aforementioned incarnation of the sneaker,subverting with countless norms bewere born.

In the past two decades, there has been a explosion of fore either of the aforementioned were born. In the pastveritable two decades, there autre sneakers in mainstream has been a veritable explosion culture. of autre sneakers in mainstream culture even Look no further than the frontpage of Highsnobiety though there were always those that innovated in the and past.you will see listicles about Avant-Garde Sneakers with models such as monolithic Rickwill Owens GeoLook no further than the frontpage of Highsnobiety and you see listibaskets DEMOBAZA trainers notmodels suited such for any more strenuous cles aboutand Avant-Garde Sneakers with as activity monolithic Rick Owens than subtly sucking your cheeks in for an Instagram fit pic.

The unconventional Geobaskets and DEMOBAZA trainers better suited for a bad Matt Damon is normalized articles like “Top 10 Gildan streetwear startups watch” or movie (No, notinContagion.

The other one) than any activity moretostrenuous “5 teen influencers (coincidentally with parents in fit thepic. topThe .01%) you need to than subtly sucking your cheeks in for an Instagram unconventional is normalized in articles like “Top 10 Gildan streetwear startups to watch” or

PHOTOGRAPHER AMIRA HASSAN WRITER LIV VELARDE ERIC TERBUSH GRAPHIC DESIGNER ELIZ AKGUN

follow,” with almost none of the offerings serving the actual utility Webster once defined a sneaker with. In fact, the standardization of “sneakers” with none of the traits that any dictionary provides has become so commonplace that you can find news about fashion’s most outrageous dad sneaker alongside calendar dates for upcoming Jordan collabs with athletes.

Collaborations have influenced this intermingling of conceptual fashion and the traditional sneaker. When the lord of darkwear himself, Rick Owens, dropped his first Adidas collab, the subversive realm of menswear was thrust into the mainstream as a “sneaker” collab. How can a shoe with elevated split platform soles and a collar so exaggerated and bloated that walking to a store for a sandwich would leave you with aching blisters fall under the same category as the ever so comfortable Adidas Ultraboosts?

On a purely technical level, the very thing that differentiated sneakers from heavy steel-bolted boots and hand-cobbled oxfords were the materials used to create them. Over time, these materials have been so thoroughly bastardized to the point that this distinction is meaningless. When you have plasti-dipped, titanium-soled, kangaroo-bodied, $2,000 shoes referred to by the manufacturer as a sneaker, it’s clear that the product is entirely disconnected from the very concept that used to define them.

Consider the Balenciaga Triple-S). Arguably the most headline-grabbing and trendsetting “sneaker” to release in the past year, the sheer weight and platform sole render them useless in any task more vigorous than using your parent’s AmEx at Barneys to purchase some Off-White.

How can the loaded catchall term sneaker really have a meaning anymore?

With CCP Drips and Stan Smiths falling into the same category, does the word sneaker really mean anything anymore? While Nike’s cease and desist legally says otherwise, in what universe could the tank-like hull of the Geodunk fall under the same design-ethos as SBs? Restaurants’ and nightclubs’ exclusionary policies towards the “sneaker” are as flexible as the soles that sneakers once had. I once watched a couple with Superstars get turned away from Grammercy Tavern, while I was allowed entry in Splatter GATs, which underneath a Jackson Pollock impersonation, are the same damn shoe. As the sneaker’s transformation has made clear, the English language is a fluid one, working definitions change constantly and dictionaries are often the last to get on board. Maybe we need a new word, maybe we just need to give up the term sneaker entirely.

Maybe it’s best to just accept that we as consumers need to have a discerning eye when it comes to high fashion branding and decide for ourselves what is worth our attention and what is simply a gimmick.

STAND W SURVIVOR

WRITER KENZIE KING PHOTOGRAPHER KENZIE KING GRAPHIC DESIGNER MANDA VILLARREAL

WITH WE SUPPORT RS DR FORD.

Survivors and Allies gathered around the University of Mich stand united against injustice, sexual assault, and rape culture. T to the Brett Kavanaugh Supreme Court confirmation hearing du Ford testified about the alleged attack she survived 36 years a and passion for change is characteristic of our community.

higan Diag in an opportunity to This event was held in response uring which Dr. Christine Blasey ago. The overwhelming support

“

representation in

”

streetwear

WRITER LILY MARKS GRAPHIC DESIGNER ELIZABETH MARICS

how far have we come? what’s next?

”

The industrialization and urbanization associated with the Progressive Era, which lasted from the 1890s-1920s, came to represent a new way of life for women. As pointed out by Daughters of the American Revolution (DAR), “Active lives required more practical clothes than the many-layered, heavily draped outfits of the late Victorian lady. Simpler, more streamlined clothing evolved during the turn of the 20th century.”1 There we have it: the start of athleisure. The slow process of integrating women into mainstream society caused rapid changes in the fashion world. As times have evolved since the start of progressivism, so has fashion.

Today, the boundaries distinguishing women’s and men’s apparel are blurring. The rise of athleisure and stylish casualization dominates designer fashion shows, inspires streetwear brands, and expands the horizons for what is considered fashion-forward.

Virgil Abloh, perhaps one of the most influential designers today, founded an entire label based on the blurred lines in creative personal expression, with a large emphasis on making streetwear a personal creative outlet. Those who aren’t familiar with Abloh’s name are certainly familiar with his label where almost every garment includes a word, phrase, or expression in quotation marks. Shoelaces on the Nike sneakers he designed sport “SHOELACES” printed all over, where the quotation marks represent the gray area that is symbolic of the ever-changing and perpetually nuanced nature of self identity. It’s clear that a shoelace is a shoelace, but when anyone can wear anything, some find comfort in labelling the obvious.

Off-White apparel, shoes, and accessories have been effortlessly sported by a large and eclectic mix of influential individuals. Serena Williams dominated the US Open in an Off-White pleated tulle skirt with a one-shoulder dress, fishnet stockings and custom tennis shoes. Beyonce, the queen of elegance, glowed in a tulle gown during her & Jay-Z’s On The Run II tour.

These highly visible examples indicate the versatility of the label; included are two of the most influential black women in sports and music who were able to successfully play US Open tennis and sing multiple albums in an Off-White tulle dress. Beyonce and Serena Williams represent very different realms of the entertainment industry but wore nearly identical dresses, made of the same material, that seamlessly worked with each of their performances.

The extent to which Off-White makes room for women in streetwear is new and unique and is what this sector of the industry has always needed.

While streetwear culture is accepting of women who wear men’s apparel, new doors have been opened when a streetwear brand as influential as Off-White maintains a baggy, “masculine” aesthetic that they can incorporate with their own women’s line. It creates increased versatility in clothing choice for women and men who want to explore their dynamic identities in a non-conforming way.

As articulated by Karizza Sanchez of Complex Magazine, “With his title at Louis Vuitton, Virgil will actually be able to influence and change the way high-fashion sees designers of color, the youth, streetwear, and hip-hop.”2 Skate culture is one of the driving forces behind brands that dominate the fashion industry and its growing obsession with casualty. As it has become more fashionable among young men to wear baggy clothing associated with the skate/punk aesthetic, women have been influenced by this as well.

Women can now wear joggers, t-shirts, sweatpants, and men’s hoodies and feel like they belong in a high-end fashion show. This is radical.

Other labels that dominate streetwear such as Supreme, Y-3, Raf Simons, and Jeremy Scott have created a society in which minimalist designs on basic garments can sell for extremely high price points as long as the brand name is front and center. A Supreme graphic tee can sell on the second market for $300 and a solid-colored hoodie with their simple box logo can sell out in 6 seconds and resell for over $800.

Y-3, the high-end, minimalist offshoot of Adidas, founded by designer Yohji Yamamoto, “unites the seemingly contradictory worlds of sport (engineered garments, intensive performance) and high fashion (unexpected volumes, fluidity, tailoring).”3 Core shades of white, black, and red have come to define the brand’s minimalist, occasionally harsh, look. While Adidas Originals is considered a relatively affordable brand in the world of streetwear, Y-3’s simplest track jacket is listed at $230 and many of their more durable jackets start at $800. Adidas has realized that there is a large market for high-end streetwear and Y-3 is a product of that. Like Off-White, their women’s and men’s lines allow for nonconformity and androgyny, where stereotypes of a typical men’s or women’s garment barely exist among billowing, airy garments.

While these brands exist to accommodate a wide range of identities related to gender nonconformity expressed in personal style, they do not accommodate the average young buyer who does not have $800 to drop on a fall coat.

Is high-end streetwear representative of the relatable skater teen who thrifts his tees for $3 each? How can labels like Supreme claim to appeal to this demographic when their basic, cheapest tees start at $40 (before they become resold for a higher $300 price point)?

Although Y-3 and Off-White have demonstrated progress in the acceptance of women, perhaps the most well known and currently recognizable streetwear brand, Supreme, has lagged behind. This small powerhouse hasn’t caught up to its competition in a progressive time for fashion, most likely due to their one-of-a-kind business model that values “authenticity” over progressive expansion.

James Jebbia, Supreme’s founder, would rather the brand stay true to its downtown NYC skater punk aesthetic than be sold in a department store. Ac-

cording to Alex Williams of the New York Times, “He seems unconcerned that other brands with a skate heritage (Stüssy, Skechers) have reaped mass-market riches. ‘Our business is as good as any high-end designer,’ [Jebbia] said, declining to discuss specific revenue numbers. “[...] [Supreme] needs to be cool to survive.”

The “cool” that Jebbia refers to is the rare nature of Supreme’s authentic merchandise. Drops that happen in-store and online are extremely limited in quantity, hiking up demand, and creating a second market where prices are over 5 times the retail value for those who couldn’t get their hands on in-store merchandise. It creates a culture of exclusivity and hype, placing lots of value on ordinary apparel.

In keeping with their limited model, Supreme has not created a women’s line and is not looking to expand in this realm. According to Jebbia, “It’s not what we know [...] It’s not in keeping with what we do.”4 This is problematic; it reeks of closed-mindedness and sexism. Why not have a women’s line if you have a men’s line? For a brand that claims to represent New York City’s youth culture, to not include a space for women is hypocritical.

Some would say that the brand isn’t intentionally sexist, but that it would just rather stay true to the same image it had in 1994 than give this up for a “progressive” public image. Skating has always been dominated by men and while Supreme’s apparel is technically unisex, it barely recognizes women who skate.

After passing the New York flagship store every day on my way to work this summer, I took note of the 100% male staff. The brand endorses plenty of topnotch skaters who get to skip lines and get paid to skate in front of the store, yet in passing by each day I saw no women in this crowd.

Although stereotypes surrounding femininity/masculinity and gender, among other factors, continue to linger in fashion, the lines have started to slowly blur as stereotypes begin to fade.

While exclusivity based on looks and status still exists within the industry, fluidity within it has become a new norm that accommodates those who would have been excluded in the past. Standards have shifted in the pursuit of acceptance and malleability in personal expression regarding gender norms, sexuality, and the newest fashion trends.

“Evolution of Women’s Fashion During the Progressive Era Examined in DAR Museum Exhibition.”

Daughters of the American Revolution, 16 July 2014, www.dar.org/national-society/media-center/ news-releases/evolution-womens-fashion-during-progressive-era-examined.

2 Sanchez, Karizza. “Why Virgil’s LV Show Is A Historic Win For Anyone Who Grew Up On Streetwear.”

Complex, 8 Aug. 2018, www.complex.com/style/2018/06/virgil-abloh-louis-vuitton-show-historic-winfor-anyone-who-grew-up-on-streetwear.

3 “Clothing as Light as Air | Y-3 Adidas Fashion Show SS 19.” Y-3 Official Online Store, www.y-3.com/expe rience/en/show/the-ss19-show-air-between-the-body/.

4 Williams, Alex. “Guerrilla Fashion: The Story of Supreme.” The New York Times, 21 Nov. 2012, www.nytimes.com/2012/11/22/fashion/guerrilla-fashion-the-story-of-supreme.html.

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DIRECTOR JENNY RUAN STYLISTS LILY MARKS KRIT KOSOLTRAKUL MAKEUP JENNY RUAN

PHOTOGRAPHERS ALEX LEAV KATIE CORBETT VIDEOGRAPHER ROMIR SHETH GRAPHIC DESIGNER MANDA VILLARREAL

MODELS BRIANNA WELLS NOAH CASPAR BRETT GONTE RAVIV SARCH

Orange Belt - Dolls Kill T-Shirt - Overthrow New York Light Gray Boots - Urban Outfitters

Green Long Sleeve - Stussy Green Pouch - Supreme Yellow Joggers - Urban Outfitters

Purple Crop Top - Champion Purple Belt - ASOS

Pinstripe Pants - Urban Outfitters Red Sunglasses - Monarch Tokyo

Drip Drop DIRECTORS JUAN MARQUEZ PARIS MORRIS STYLISTS OLIVIA KEENER SUSIE MEANEY SEAN TRAN MODELS IMAAN HOQUE ALEXANDER MIZE PHOTOGRAPHERS ALEX LEAV JUAN MARQUEZ GRAPHIC DESIGNER ALIYA FALK

STUDENT SPOTLIGHT: ADRIANNA KUSMIERCZYK

Growing up, senior, Adrianna Kusmierczyk, loved creating art.

When it came time to apply to univserity, she knew she wanted to be somewhere where she could continue to explore her artistic path. At Michigan, Adrianna has been able to combine her passion for creating art with a top tier education in the Stamps School. Adrianna is studying Art & Design with a focus on mixed media art, digital collaging, and graphic design. Once she graduates, she is hoping to pursue a career in the textiles industry.

Where are you from and how did you choose Michigan?

I’m from Shelby Twp, MI. U of M was always in the back of my mind, just because I grew up in Michigan, but I was also interested in applying to art schools. I knew I wanted to major in art but always had that feeling of hesitation about only studying art. I wanted to go to a school where I’d be able to have, in a way, “the best of both worlds”, where I could also have the best education and opportunities in other subjects besides art. I decided to go to U of M because it is one of the few schools where they don’t require you to choose a specific concentration, so you have the freedom to pretty much take whatever classes you want and determine your own path as an artist and designer.

Can you tell me about your relationship with art growing up?

My parents were the kind of parents that made me try every single hobby and sport when I was growing up, so I’ve been taking art classes almost my whole life. It’s the one hobby I didn’t let go of as I grew up. Also no one in my family does art, it took a lot of convincing them (and still does) in order to pursue it in college and as a career.

What is your favorite form of art to create?

I mainly do mixed media art, digital collaging, and graphic design. I also love painting and screen printing.

Can you tell me about the meaning in your art?

I don’t think there is an overarching theme to my work, every project has its own meaning or sometimes doesn’t even have a meaning at all. I enjoy using a lot of colors, textures, and patterns to evoke positive emotions. Most of my mixed media work is surreal and deconstructed, and although I may have a specific intention and story behind the piece, my goal is to allow the viewer to find their own stories within my work. Recently, I have been exploring themes of nostalgia, identity, the environment, memories, and femininity.

What is the meaning of your thesis?

I am currently at the beginning stages of my thesis, focusing on sketching, writing, and researching. I am planning to combine my research about nostalgia, psychogeography, identity, and fashion in order to bring more individuality into the clothing we wear and encourage a cycle of storytelling within the fashion community. Through a series of conversations and meaningful dialogue, I am planning to create a series of collaged “identity maps” that will be printed onto fabric to create a customized clothing line. Every person featured will receive clothing that reflects the way in which people view places and their past in relation to their identity.

What kind of things inspire you?

Other artists, the people around me especially my friends and family, things that make me mad, things that make me happy, and travelling!

What do you intend to do once you graduate?

I hope to have a career in the fashion and textile industry. Specifically doing graphic design, branding, and fashion advertising.

What advice do you have to others trying to pursue art?

As soon as an idea or some inspiration comes into your head WRITE IT DOWN! Even when I’m about to fall asleep, I will jump out of bed and write whatever I think of in my sketchbook, otherwise I will forget it. In a few weeks or months or years, that quick note you made could spark an idea for a project.

Also keep a page in your sketchbook that you add to throughout the years, where you write down any new artists/brands that you find inspiring. It’s helpful to have all of your inspiration written down in one spot to always look back at when you’re having a creative block.

What is your proudest accomplishment with your work?

I’m more proud of how I’ve changed as an artist rather than what I’ve made specifically.

I’m proud that I learned that other people’s reactions are secondary to what I truly want to make rather than the reason that I do it.

WRITER SOPHIE REVEAL PHOTOGRAPHERS ANANTH CHILLARIGE NATALIE GUISINGER GRAPHIC DESIGNER ALIYA FALK

WRITER LIV VELARDE GRAPHIC DESIGNER MANDA VILLARREAL

Civic Engagement and the Arts: The Power of the Freedom of Expression

The University of Michigan has always been a politically charged campus. Students that came before us have created a legacy of protest and civic engagement that remains an integral part of our lore as a student body. We’re one of the few public universities in the country to have produced a president, JFK announced the birth of the Peace Corps on the steps of our very own Union, Hash Bash began as a reaction to a change in cannabis laws and remains a protected place for civil disobedience, and students protested the arrival of a white supremacist on campus just last year.

This month, that spirit has been particularly active in the student consciousness, and several organizations are using arts and culture to connect with students to promote voting registration and civic engagement. College-aged students are a specific target of this get-out-to-vote spirit because of a phenomenon long lamented by political commen-

tators and national journalists alike: the dismal voting rates of people aged 18-30 compared to the rest of the population. A Harvard study has been tracking how the actual youth voter turnout compares with the projected turnout since 2004. In midterm elections, the youth voting rate has hovered around 20% of the eligible population. The amount of young people that say that they’re “definitely voting” before the election has traditionally been 9 points higher than the percentage that actually do go out and vote.1 Voting is Sexy and the University of Michigan Museum of Art (UMMA) are two organizations on campus that are confronting that problem by making civic engagement fun.

The Stamps School of Art and Design is offering a class titled Voting is Sexy to train today’s art students how to use their creative skills to affect tangible change in the world.

According to professor and co-coordinator of Voting is Sexy, Stephanie

gI sS ex y2 0

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According to Briannon English, the Education Program Coordinator of UMMA, fashion was an easy medium to latch onto in order to bridge this gap on campus, and a fashion show seemed like a natural fit to create something exciting that students can relate to. As a local cultural hub, they feel a responsibility to be relatable and welcoming so that they can fulfill their prescribed role in the community.

The freedom of expression of art is a powerful tool, and harnessing that passion for good is what the leaders and the best have always done.

Come hang out with the fashion orgs on campus on November 5th at 6PM at the University of Michigan Museum of Art and remember that voting is sexy!

#V ot in

Rowden, the project is “a creative campaign to inform, motivate, and inspire students all the way to the ballot box on November 6… At any given moment students are working on multiple projects, with groups working on infographics, pop up events, and social media. We have groups focused on content around Absentee Voting, Understanding the Ballot, and the Voting Experience.

And, we’re making it sexy!”

UMMA is taking a similar route of sexiness by hosting a party the evening before Election Day which will feature a fashion show as the main event. It is being presented by SHEI Magazine, Bronze Elegance Runway, EnspiRED Runway Fashion, and NOiR Runway Fashion. The party will also be hosting tables by the Ginsberg Center offering information about the issues on the ballot, Pin Cause which allows students to customize their own political pins, and Voting is Sexy where students should feel free to pick up some merch. With these events, UMMA is taking Voting is Sexy’s motto of “serious fun” very seriously.

One consistent effort within both of these campaigns is how to tackle relatability. There’s the simple problem that students are caught up in a bubble of their student-ness.

Another, particular to UMMA, is that museums face the persistent stereotype of unapproachability and that it’s a place where only the well-educated can go to attain knowledge. The grand edifices and intimidating silence have been the focus of an approach by new director of UMMA, Christina Olsen.

She’s passionate about connecting with students and is at the forefront of breaking down the pretentious perception of museums.

1

Philip Bump. “Young people say they are voting in November -- but they usually don’t,” The Washington Post online.

Last modified April 10, 2018.

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