CONTENTS
FRONT OF BOOK
#04 Haute Online
#08 Top 5
#12 Editor’s Note
#13 Masthead
SEAMS
#18 Runway Realway: Alexander McQueen Spring/Summer 1999
#20 Runway Realway: Dior Couture
#22 Celeb Style: Imogen Heap
#24 Celeb Style: Tyler, The Creator
#26 Bling your Bag
#28 Thinking Thneed
#30 Human Canvas
#34 Seams: Paul Tazewell
#36 Seams: Suzanne Lee
WHO, WHAT, WEAR
#40 Athens Block: Is Utility Art?
#116 Passion in Bloom
#84 Trashion
#36 Seams: Suzanne Lee
The Labor of Love Issue
CONTENTS
MIDDLE OF THE BOOK
#46 Homegrown
#58 Feathers and Fairytales
#72 Textile Scrapbook
#84 Trashion
#96 Looks We Like: Polly Pocket
CAMPUS CASUAL
#104 DIY: Tea Cakes
#106 DIY: How to Stitch Up Your Own Clothes
#108 Quiz: What Pattern Are You?
#110 Wild Indigo Threads
#112 How OU’s Ceramics Program Slips (Up) and Scores
BACK OF THE CLOSET
#116 Passion in Bloom
#120 Murals and Mental Health
#124 Athens Makerspace
#128 Re-centering Native Art
#130 Threads of the World
#132 In Good Fashion: Ana Luisa Jewlery
#134 Rant/Rave: AI Fashion
#58 Feathers and Fairytales
#132 IGF: Ana Luisa Jewlery
#72 Textile Scrapbook
HAUTE ONLINE
Looking for a new internet obsession? Whether you want to listen to podcasts or watch some videos, we’ve got you covered virtually.
AIRBUDS
You can tell a lot about a person from their music taste. Stalking someone’s Apple Music or Spotify can give you a great sense of their personality and sometimes even offer a peek into their inner psyche. Airbuds is an app and widget that lets you see what your friends are listening to, while also giving you the ability to react and engage with their music history. I often find myself scrolling through Airbuds, checking out my friends’ listening stats, and discovering new tracks to add to my own playlists.
Airbuds also shows you your listening statistics at the end of each week, showing your top artists, songs, and minutes played. Instead of waiting until December for your Spotify Wrapped, Airbuds is the perfect way to keep you updated on your listening habits throughout the year. Whether you’re a music enthusiast or just love discovering fresh tracks, it’s the perfect way to stay connected and inspired.
My Instagram page is my digital scrapbook. I enjoy collecting pictures from different eras and experiences in my life and amassing them into one post. There is a subtle artistry to the flow of pictures, the color scheme, and an accompanying caption or song choice. As someone who also enjoys physical scrapbooking, I equally enjoy creating a public iteration of those pages of my journal.
Although studies have shown obsession over likes and comments can go too far, these reactions can also be a symbol of an online community. As I get older and lose touch with more and more people from my past, it’s nice to bear witness to
their lives through their photo dumps, and I like to believe they would say the same about mine. Social media is not without its drawbacks, but there is always fun to be had in grouping moments in time and creating social media content to share with the people in your life.
- SOPHIA ROOKSBERRY
SEVERANCE
Need a show that’s both “mysterious and important?” From the minds of Dan Erickson and Ben Stiller, “Severance” has crafted a whole new look at corporate America, the nuances of worklife balance, multifaceted identity, and sense of self. With a brilliant blend of heart and mind, “Severance” has the world talking, sparking new and deeper levels of conversation.
“Severance” follows protagonist Mark Scout, the Department Chief of macro data refinement at Lumon — the company that pioneered “severance.” Severance is a medical procedure in which employees get a chip implanted into their brains that separates their out-of-work self (“outie”) from their in-work self (“innie”). The procedure is aimed at promoting worklife balance and increasing productivity in the workplace. However, it becomes quickly apparent that something darker is going on under the surface. Left with too many questions and not enough answers, Mark and his fellow macro data refiners, Helly, Irving, and Dylan band together to uncover the truth. After an experimental season
one that left viewers wanting more, the slow-burn drama that was season two recently premiered its action-packed finale. “Cold Harbor” answers some dying questions, but also sparks several new ones.
In addition to strategic storytelling and experimental social commentary, “Severance” tactfully incorporates unconventional and creative camera techniques to create perspectives that are eerie and otherworldly, yet still feel grounded in reality. Each shot is carefully calculated and extremely confrontational, the cinematography an outward manifestation of each character’s inner motives and conflicts (or chicanery, as Mr. Milchick would say).
Officially green-lit for a third season, the world of “Severance” will continue to push the boundaries of modern television as we continue to rely on art as a means of connection, commentary, and advocacy. Until then — see you at the Equator.
- JENNA SKIDMORE
If you haven’t watched season 1 of “The Last of Us,” you need to. Season 2 is set to launch on April 13 after two years of waiting. The show follows the storyline from “The Last of Us” video game that came out in 2013.
Pedro Pascal and Bella Ramsey return as Joel and Ellie, whose relationship will face its most significant challenges yet. Season two is expected to explore themes of revenge, grief, and the consequences of violence, mirroring the game’s narrative while offering its own unique twists.
“The Last of Us” is such an incredible work of film, its ability to seamlessly blend horror, action, and gut-wrenching emotion makes it worth the wait for this next season. Fans can expect breathtaking action sequences, deeper character
development, and devastating moments that will stay with them long after the credits roll.
“The Last of Us” in my humble opinion is one of the best post-apocalyptic shows ever made. I have become so attached to all the characters and have rewatched season one too many times to count. The casting for this work is toptier and truly reflects the in-game characters’ personalities perfectly.
If season two delivers on its promise, “The Last of Us” could solidify itself as one of the greatest video game adaptations of all time.
- SHYLA
ALGERI
Find out the top five things that our exec board is inspired by right now.
“SO CLOSE TO WHAT”- TATE MCRAE
An album that has been on constant replay for me over the past month is Tate McRee’s third studio album “So Close To What.” I have been listening to McRae since she released her very first EP “All The Things I Never Said” but haven’t until recently really gotten into her music as well as getting to know who she is as an artist. Artists are heavily criticized now more than ever, especially in the world of pop music and pop divas, if you will. Comparison has truly become one of the driving factors of music criticism and it has become a toxic cycle that needs to be broken. Not only are artists getting compared to their peers or the greats before them but they are getting compared to their past selves or “hits.” This type of criticism has allowed very little room for an artist to explore themselves and their sound. McRae does not need another “Greedy,” contrary to your expectations. “So Close To What” shows McRae in an entirely new light and you can really visualize the confidence in both her sound and appearance. One of my personal favorite tracks, “Purple Lace Bra,” explores not only her personal relationships but also her relationship with the media and the world not listening to her and who she really is and instead judging her on a surface level and by her appearance. I believe McRae has found a symmetrical balance of being able to tell a story and connecting with people as well as being able to release music that just feels fun and makes listeners want to dance. Tate McRae is on the road to be one of the greats and I will most definitely be following her along for the journey.
- HUNTER GIBSON
Athens’ newest coffee stop, Rise & Grind, is, in my opinion, serving the best coffee near Ohio University. I struggle to put into words how much I love this little coffee truck. I have to battle with myself every morning to not spend all my money on a latte, which costs $5-7 and comes in sizes small, large, and extra-large. The bright cobalt blue of the coffee truck shines like a beacon of joy to me when I am on campus. It is the perfect place to stop on my way to class, or in between classes when I am in desperate need of coffee.
I really love the wide variety of latte flavors they offer, especially the seasonal drinks. For Valentine’s Day, they were making a dark chocolate and cherry latte inspired by Hozier’s song “Cherry Wine,” which was my personal favorite. Additionally, they make refreshers and Red Bull infusions for the non-coffee caffeine lovers. If you haven’t tried Rise & Grind yet, I strongly recommend giving their drinks a go, there is truly a drink for everyone.
- ABBY JOYNER THE PERFECT SANDWICH
Let me tell you about the latest hyper-fixation I have been having when it comes to my meals. Whenever you’re in a time crunch, this easy, delicious and filling sandwich has made my day so much better. I literally think about it before going to bed and become excited for the next morning when I can have it for brunch.
First, toast a bagel to your liking. I rotate between an everything bagel or a plain bagel however two pieces of white toast will do as well. Then, crack two eggs over a sliver of melted salted butter and wait until the edges of the eggs are almost completely white. Flip the eggs gently to ensure the yolk does not crack and after around 30 seconds, put the eggs on a plate. Once the toasted bagel has popped up from the toaster, slice open an avocado and scrape half of the contents onto each side of the bagel. Crush the avocado down and sprinkle heavily with salt. Place an egg on each bagel slice and enjoy with a big glass of orange juice!
This breakfast or lunch or brunch is so simple yet so delicious — I highly recommend it.
- GABRIELLE CABANES
CHERRY BLOSSOMS
Earlier this month, I looked out my bedroom window and saw that my neighbor’s cherry blossom tree had bloomed overnight. Seeing the pink and white fruiting tree brought a flood of happiness.
Last Spring, I was able to visit the hundreds of cherry blossoms surrounding the Tidal Basin in Washington D.C. The joy on children’s faces as they played in the fallen petals was infectious. Hundreds of spouses posed for pictures together and thousands gathered to appreciate the natural, but fleeting beauty.
These cherry blossom trees signal the change of season from Spring to Summer. In Athens, it also signals the beginning of the second half of the semester — potentially the most stressful time of year for a college student. Yet, the presence of these trees as I walk around campus reminds me that life is so much bigger than essays and exams. Cherry blossoms remind me to appreciate and find inspiration in the little things.
- ALEXANDRA HOPKINS
KNITTING
A few months ago, I picked up knitting as another hobby to put under my belt. I started crocheting a few years ago but had always been interested in trying knitting, despite hearing that it was more difficult. I tried to teach myself to knit last year but quickly gave up in frustration. However, I tried again over winter break and finally got the hang of it. Since then, I have tried to learn as much as I can about knitting.
I have always had the need to create any kind of art, whether that be drawing or crafts. Now, I have my hands in the world of fiber arts. Knitting is an exercise of patience and problem-solving. It’s a great hobby to do while you watch your favorite show or listen to a podcast. For me, it is a great activity to wind down at the end of the day and
get my eyes off a screen for a while. Oftentimes, I start a new project and get excited about the final product, so I spend as much time working on it as I can.
If you are looking to start a new hobby, this is it! Knitting is a great way to get into making your own clothes and more. When I finish a piece, it gives me something to be proud of, no matter the quality of the end result. It is the simple fact that I took hours out of my day to sit and create something from nothing but a ball of yarn and some needles that gives me the joy of a finished knitting project.
- CARLY HART
Editor’s Note
Hello Threadies and welcome to our last issue of the year! Writing this feels extremely bittersweet. I have been with Thread Magazine since my first year at Ohio University, and I can not imagine these past four years without it. Thread has taught me so many things, both personally and professionally, and I would be a completely different person today if I had not taken a chance on this publication and quite frankly myself during my first year. This year has truly been one of the most incredible yet, and it’s the people and the art that make saying goodbye so hard. But I know the future of Thread is in the best hands yet and for that, I am eternally grateful.
With it being our last issue for the year, nothing felt more right than “Labors of Love.” This issue and every issue before it have all quite literally been labors of love. We aren’t doing this because we have to but because we want to and this issue is what it’s all about. Think handmade — We highlight some of the most innovative creatives from different atmospheres from musical icon Imogen Heap to Paul Tazewell, most recently known for his incredible work as costume designer for “Wicked.”
For our middle of the book shoots, we really got to play — sometimes literally — with different handmade aspects. First, we have “Homegrown” which is exactly as it sounds. Next, we invite you back into a time when your imagination was always spinning with “Childhood Play.” Then we have a shoot that was actually handmade by members of our staff to mimic a textile scrapbook. Finally, we explore the world of “Trashion” which explores the world of using repurposed elements for fashion.
Thread Magazine feels like home to me and I am forever grateful for the journey it has taken me on. The resilience, extreme dedication, and the LOVE of everyone who has a part in making this happen are truly the reasons it is all possible. It’s why I am here writing this and why you are reading it. We are a labor of love and that’s why this issue is so special and so important among many other reasons.
I want to express my most extreme gratitude for the 24 executive members as well as the general body members this year who have poured their all into making this the best year yet. I will never stop singing the praises of each and every one of you. There is no staff like ours.
and I have never felt more sure about the future for you all.
I would also like to thank our creative director, Hadley Fain, and art director, Morgan Clark for everything you do to make Thread the place it is. You both blow everything you do out of the water and I hope that even the slightest bit of your intelligence and creativity has rubbed off on me in our time together.
Lastly, I want to thank the readers. You all are the reason we get to be here and get to do this and that is the most important thing of all. This publication and the people within it will forever be with me in everything I do.
I now present to you, our final issue of the year, “Labor of Love”.
FOREVER YOURS,
Spring Issue #2: Labors of Love
EDITOR-IN-CHIEF Hunter Gibson
MANAGING EDITOR Gabrielle Cabanes
CREATIVE DIRECTOR Hadley Fain
ART DIRECTOR Morgan Clark
EDITORIAL
COPY CHIEF Cami Seymore
SEAMS EDITOR Abby Joyner
WWW, & CAMPUS CASUAL EDITOR Avery St. George
FEATURES & BOC EDITOR Sophia Rooksberry
ONLINE CONTENT EDITOR Alexandra Hopkins
OFFICIAL STAFF WRITER Olivia Leggans
EDITORIAL STAFF Lauren Stidham, Sophia Anness, Mackenzie Carr, Aiden Cox, Emma Erion, Emily Green, Avery Tyla, Naomi Boyes, Shyla Algeri, Jenna Skidmore, Carly Hart, Hunter Gibson
DESIGN
DESIGN DIRECTOR Gwyneth Shoemaker
ILLUSTRATION DIRECTOR Kendall Wiff
WEB DIRECTOR Carly Hart
DESIGN STAFF Ella Huelskamp, Emma Henry, Carly Hart, Zoe Cranfill,, Nicole Bell, Tanner Vance, Hadley Fain, Gretchen Stoner, Lesia Leskovska, Morgan Clark, Emily Petertojnes, Kendall Wiff, Maris Cordial, Kelly Ernst
ILLUSTRATION STAFF, Colette Trout, Carly Hart, Emma Henry, Maris Cordial, Emily Henderson, Kelly Ernst
PHOTO
PHOTO CHIEF Disha Hoque
HEAD PHOTO EDITOR Jori Husted
PHOTOGRAPHY STAFF Nicole Bell, Kitty Crino, Peyton Ann Hodge, Nate Conklin, Zennia Lam
MULTIMEDIA
MULTIMEDIA DIRECTOR: Jenna Skidmore
VIDEO EDITOR: Maggie Musto
STAFF: Ally Parker, Avery Callison, Avery Tyla, Ella Huelskamp, Kourtney Gierke, Maddie Benedict, Nicole Bell, Jayla Neal
FASHION
FASHION CO-DIRECTORS Bella Bolin & Natalie Schoolcraft
MAKEUP CO-DIRECTORS Kamryn Clark & Shyla Algeri
FASHION STAFF Kinga Truoczi, Erin Brogan, Elise Talaga, Courtney Getter, Geneva Day, Madelyn Joens, Linda LaCour, Noa Rabkin, Ella Franks, Natalie Schneider, María Segui, Nora Davis, Rey De Spain, Sage Husted, Isabella Burnett, Diego Buhay, Shea O’Flaherty, Alexis Ky, Abbey Kates, Abrielle Fitzpatrick, Ema Carter, Georgia Booth, Nicole Sheridan, Khaleb Davis
BUISNESS & SOCIAL MEDIA
DIRECTOR OF PR & CREATIVE STRATEGY Sabine Obermoller
HEAD OF EVENT PLANNING Emma Hedges
SOCIAL MEDIA MANAGER Lila Newman
BUISNESS & SOCIAL MEDIA STAFF Taylor Belvins, Camden Campbell, Halle Andrus, Olivia Beatty
GWYNETH SHOEMAKER
DISHA HOQUE
HUNTER GIBSON
KENDALL WIFF
LILA NEWMAN
GABRIELLE CABANES
CARLY HART
EMMA HEDGES
HADLEY FAIN
JORI HUSTED
JULIA BROWN
MORGAN CLARK
Design Director
Photo Chief
Editor-In-Chief
Head of Photo Editing
Hair Director
Art Director
BELLA BOLIN
JENNA SKIDMORE
ALEXANDRA HOPKINS
NATALIE SCHOOLCRAFT
MAGGIE MUSTO
SOPHIA ROOKSBERRY
KAMRYN CLARK
SABINE OBERMOLLER
AVERY ST. GEORGE
SHYLA ALGERI
CAMI SEYMORE
ABBY JOYNER
Co-Fashion Director Multimedia Director
Co-Fashion Director Video Editor
Co-Makeup Director
& Creative Strategy
Co-Makeup Director
Copy Chief Seams Editor
SEAMS
From the runway to the streets, and everywhere in between, here are this seasons’s most soughtafter trends.
BY LAUREN STIDHAM
PHOTOS BY KITTY CRINO EDITS BY JORI HUSTED DESIGN BY CARLY HART
Alexander McQueen’s No. 13 is remembered as an exhibition of artistry and defiance in runway fashion. This historic show was “McQueen’s most open tribute to the Arts and Crafts movement,” according to AnOther. The show features a collection of pieces inspired by Queen Mary’s Hospital workshops, an institution pivotal in prosthetic manufacturing during WWI. Interwar attire, neutral color palettes, and leather lacing combine to create a contemporary approach to wartime wardrobes.
Aimee Mullins, a Paralympic champion and model, opened the spring 1999 show. McQueen didn’t just want a display of beauty, he wanted a show with integrity as well.
What makes this show so memorable is Shalom Harlow’s closing performance. Harlow was dressed in a simple white poofy gown, accessorized with only a beige belt adorning the chest and back and simple brown mules. The outfit was consistent with the neutral, rustic looks seen throughout the show, but it transformed into an unforgettable display of art.
McQueen revealed the finale was inspired by Rebecca Horn’s High Moon, an exhibition that featured two rifles, symmetrically facing each other and spilling blood from their muzzles. Horn was interested in the personification of inanimate objects and the simultaneity of two sides working at the same time.
The finale of this show featured these through the use of two mechanical robots from a car manufacturing plant. Harlow appeared on a circular, spinning platform and stared blankly as the machines slowly rose together in movement.
As they danced beside Harlow, she began her own movements, swaying her arms feebly at the same time as the robots loomed on either side of her. She continued in a graceful show of agitation until the robots began spewing black and neon green paint on the base of her dress. The dance became more wild and Harlow embraced the splashes of color that decorated her gown.
The accents of paint created a look that heavily contrasted the polished and antique ambiance of the previous looks. This collection combined precise fashion design and imaginative choreography, and the audience witnessed the creation of a revolutionary look before their eyes.
Imogen Heap’s style is as inventive and unconventional as her music. Known for blending bohemian elegance with futuristic flair, Heap’s wardrobe often feels like a visual representation of her experimental sound. She gravitates toward layered, flowing fabrics and asymmetrical cuts, creating an ethereal, almost otherworldly silhouette. Her outfits frequently feature steampunk-inspired elements, such as corsets, ruffled skirts, and Victorian-style jackets, giving her a timeless yet edgy aesthetic.
One of Heap’s most recognizable trademarks is her playful use of accessories. She often adorns herself with feathery or floral headpieces, adding a whimsical, fairy-like quality to her look. Her hair, too, is a form of artistic expression — she is well known for her gravity-defying, avant-garde tousled hairstyles.
Heap also experiments with unconventional materials and textures, further pushing the boundaries of fashion. She has been known to wear structured, sculptural pieces or incorporate fabrics with metallic or reflective surfaces, creating a futuristic, sci-fiinspired effect. This mix of soft, flowing fabrics with bold, edgy accents gives her outfits a distinctive and unpredictable feel.
Beyond aesthetics, Heap incorporates technology into her fashion, making her style as innovative as her music. Her Mi.MU gloves are a perfect example. The groundbreaking, gesture-controlled gloves allow her to manipulate sound during live performances. Their sleek, minimalist design blends seamlessly with her flowing, theatrical outfits, creating a futuristic performance experience.
Heap’s color palette often leans toward earthy tones, deep blues, and muted metallics, reflecting the organic, ethereal quality of her music. However, she also experiments with bold pops of color or shimmering fabrics to catch the light on stage.
Ultimately, Imogen Heap’s clothing style is a fusion of fantasy, art, and technology. It transcends trends, serving as a visual extension of her creative identity. Whether she’s draped in delicate lace or adorned with tech-enhanced gloves, her look is always imaginative, daring, and deeply personal — making her a true style icon in the world of music and beyond.
CELEB STYLE:
BY CAMI SEYMORE
PHOTOS, EDITS, AND DESIGN
BY JORI HUSTED
THE CREATOR
Tyler, the Creator is recognized not just for his music but also for his distinctive sense of style, which has solidified his status in both the music and fashion industries. In the early stages of his career, Tyler was a key member of Odd Future, a rap collective that featured prominent artists like Frank Ocean and Earl Sweatshirt, helping propel their rise to stardom. Tyler initially embraced streetwear, sporting graphic tees, cargo pants, and other casual staples that aligned with hip-hop fashion. Just as he explores different genres in his music, Tyler’s style has evolved with each album, changing to reflect the unique vibe of every project.
In 2017, Tyler dropped his album “Flower Boy,” a project that not only marked a musical shift but also a fashion evolution. He began experimenting with his style, embracing bright colors and floral patterns that mirrored the album’s vibrant and expressive tone. Over time, he continued pushing the boundaries of fashion, often experimenting with gender-neutral styles by wearing pieces traditionally considered feminine, and incorporating them into his red carpet looks, concerts, and casual outfits.
In 2019, Tyler continued this bold
approach to clothing with the release of “IGOR,” where he made a statement by exclusively wearing bright, monochromatic two-piece suits, accessorized with sunglasses and an iconic Andy Warhol-inspired wig. Tyler’s fashion choices continued to defy expectations in his “Call Me If You Get Lost” (2021) album era by donning sweater vests and loafers paired with furry ushanka hats and vintage luggage to match his album’s luxury travel aesthetic.
His fashion brand, Golf Wang, brings these elements of his persona to life and reimagines streetwear by combining non-traditional, genderfluid designs into his pieces. Golf Wang draws heavy inspiration from the ‘90s and 2000s, incorporating references to skate culture, cartoons, and vintage styles, while modernizing it and making it his own. Tyler’s influence on fashion helped elevate streetwear as a legitimate part of high fashion, allowing him to share his artistic vision outside his music.
BLING
yourBAG
BY AIDAN COX
PHOTOS BY NICOLE BELL
EDITS BY MORGAN CLARK
DESIGN BY GRETCHEN STONER
There’s one sound that will always tickle an itch in your brain: the jangling, clanking, and clinking of jewelry. Whenever people wear dangly earrings or carabiners clipped to belts with an unfathomable amount of keys, the sound they make when they move is captivating. Now, a new trend has appeared with a similar purpose: bag charms.
Etsy is one of the best options for anything jewelry-adjacent. Because anyone can sell their creative works on Etsy, it has become a hub for thoughtful and handmade designs, such as a pair of Yoshitomo Nara keychains, sold by Etsy seller NymphPrints. Etsy sellers also make beautifully designed carabiners you can clip onto any bag. One purpose of the bag charm trend is maximalism and utility, so any mix of chains, charms, and even scarves work well on a bag, as long as they are personalized to you.
Another option is bag chains, suitable for people who are a little more minimalistic. These can replace the original chain of the purse to add more personality or can be added onto the bag to create depth. For example, vintage clock chains sold by ReynaldaJewelry on Etsy could revamp an ordinary bag, or other sellers make standard chain links with charms added to them.
Jellycat and Labubu provide cozier options for the
and sometimes come in mystery boxes, so they can be both a fun activity and a little accessory.
Bag charms were popularized by Jane Birkin in the ‘60s. She was the inspiration for the infamous Hermès Birkin bag, which she was often photographed carrying. Picture an enormous tote bag completely stuffed to the brim, covered in stickers, and drowning in charms. Of her bag ethos, Birkin said to Vogue, “There’s no fun in a bag if it’s not kicked around so that it looks like a cat’s been sitting in it- and it usually has. The cat may even be in it!”
The cultural swing towards maximalism and hyper-individuality comes after the minimalist beige and gray fashion trends of the 2010s. Many are seeking ways to become special and different, to leave their mark on every object. These trends are also influenced heavily by consumerism and social media. To participate in more sustainable practices, look around thoughtfully at options and only choose charms that are connected to a deep interest you already have. This ensures you still feel connected to the look even when it goes out of style.
THINKING
EMMA ERION NICOLE BELL MORGAN CLARK
When The Lorax by Dr. Seuss was first published in 1971, a “thneed” was nothing more than a fictional fashion statement.
While the fantastical clothing item always had a vague resemblance to multifunctional scarves and sweaters, it wasn’t until recently the term gained more traction in popular culture. Much of this popularity comes from the audience’s reception to the 2012 musical feature film release of “The Lorax,” as well as the rise of TikTok. “Thneed Girl,” aka @rachleahx, is known for her comedic TikToks, where she discusses the “thneedery” of certain clothing items.
Firstly, however, what is a “thneed” exactly? In “The Lorax,” the thneed is a clothing item made out of Truffula trees and sold by the Onceler, and he describes it as “something everyone needs.” It is shown in both the book and the movie as a stretchy pink turtleneck sweater, able to be worn in many ways.
While the ultimate message behind the thneed is it is a useless item the Onceler sells to fuel his greed, the “thneed” trend is much more harmless. Rachael has two criteria for what constitutes a thneed: it physically resembles the original thneed
illustration, or it has the same sort of confusing multi-functionality the thneed is meant to have. One of the most popular examples Rachael provided was Kyle Kuzma, a current forward for the Milwaukee Bucks, wearing a comically large bright pink Raf Simons sweater that looked like a real-life version of the illustrated thneed.
Others of Rachael’s most popular videos involve her “stitching” creators who utilize a singular clothing item for a variety of different looks, proving to be one of the most positive parts of the trend. Another one of Rachael’s most popular videos, with nearly 8.1 million views on TikTok, is her reaction to a video by user @cherieness where she showcases different ways to wear cutout fishnets. While the original thneed is meant to represent the plight of overconsumption and overuse of resources, the trend on TikTok promotes sustainable new ways to wear clothing that you already own. A quick scroll through “Thneed Girl’s” most popular videos can provide many ideas on how to find an unconventional way to wear a strappy tank, a wrap top, a stretchy sweater, and yes, even fishnet tights.
BY ALEXANDRA HOPKINS
PHOTOS BY KITTY CRINO
EDITS BY MORGAN CLARK
DESIGN BY TANNER VANCE
The face is a living canvas and a mirror into the soul. From a quirk of the mouth or a raise of the eyebrows, a person can reveal their innermost thoughts and feelings. How individuals choose to adorn their face can be a powerful tool of selfexpression.
The ancient Egyptians are believed to be the first creators and applicators of makeup, with evidence dating as far back as 6000 B.C.E. In this time, makeup was crafted handmade, using a combination of minerals, oils, and plants.
Makeup went through a renaissance in 1920s Europe and North America, after a period of disdain for the art form had spread throughout the Western world. “Highly visible cosmetics,” advertised to enhance beauty and flaunt wealth, were marketed to women, according to Britannica. In fact, makeup became almost a societal necessity for women.
Today, makeup has evolved into an art form practiced by millions around the world. Communities around the globe use face paint to express significant cultural meaning. Teenagers apply makeup to conceal acne scars. Costume designers harness the powers of prosthetics to
transform actors into their characters.
The use of makeup is an inherently handmade process. Though makeup is no longer traditionally handmade, its application relies on human creativity and touch. In pursuit of artistic creativity, makeup may be used in unconventional ways. Often, the objects adorning the face aren’t even considered “makeup” at all.
Collaging, an artistic technique where various materials are glued together to create an art piece, is making a comeback. As a result, artists are beginning to look for nontraditional canvases to showcase this form of self-expression — a search that has led artists to the ultimate canvas, the face.
In this way, collaging may be seen as a form of makeup. Whether through the use of stickers, newspaper clippings, or rhinestones, artists are combining collage techniques with dramatic makeup to convey a story.
The face as a canvas opens a plethora of opportunities for both artistic and self-expression. Combining the artistic form of makeup with collaging is truly a handmade form of pulling the personality out of the soul and putting it directly
Last November, the 2003 musical “Wicked” underwent a cultural revival when the long-awaited film adaptation hit the theaters. Audiences across the world were swept up in the grandeur of Ozian style, from blazer-adorned Shiz University students to “greenified” Emerald City citizens. The fashion world of Oz was crafted by Paul Tazewell, the film’s costume designer and an Ohio native.
Tazewell was born in Akron, Ohio, in 1964. He earned his bachelor’s degree from the North Carolina School of the Arts and his master’s from the Tisch School of the Arts at New York University. Since entering the world of costume design, Tazewell has worked on Broadway shows, films, regional theater productions, ballets, and operas.
The designer made his Broadway debut in 1996 with “Bring in ‘da Noise, Bring in ‘da Funk,” for which he received a Tony nomination for Best Costume Design of a Musical. Tazewell was later nominated for the same award for “The Color Purple” (2006), “In the Heights” (2008), “Memphis” (2010), “A Streetcar Named Desire” (2012), “Ain’t Too Proud” (2019), “MJ” (2022), and “Suffs” (2024). He won the award in 2016 for his work on Lin-Manuel Miranda’s revolutionary “Hamilton,” the most nominated musical in Tony’s history.
Tazewell was nominated for the Best Costume Design Academy Award for Steven Spielberg’s “West Side Story” in 2021. Four years later at the 97th Oscars, Tazewell became the first black man to win the award for his designs in “Wicked.” The outfit he wore while accepting his award — a sharp tuxedo accentuated by vintage jewelry and a bedazzled tie — exemplified some of his personal fashion inspirations.
“In planning this classic look, I drew significant inspiration from the Black dandies of yesteryear,” Tazewell captioned an Instagram post. “The debut tuxedo from Yves Saint Laurent’s 1966 collection, famously captured by Helmut Newton in Paris, provided the exact silhouette I was seeking.”
A different facet of Tazewell’s artistry and attention to detail was demonstrated in the “Wicked” wardrobe.
“I went back to some of the original illustrations from the bound book from the turn of the [last] century and some of the images that were from the 1920s,” Tazewell said in an interview with Harper’s Bazaar. “I was tapping into the iconic imagery that’s kind of held throughout all of the different tellings of ‘The Wizard of Oz.’”
The testament to this iconism was particularly notable in the details of each character. From the smallest stitchings on Elphaba’s hat to the hue of Glinda’s dress, details are a highlight of the film. Additionally, Tazewell also excelled in designing substantial ensembles by adhering to the overarching atmosphere of the film.
“There were a lot of times when we would be deciding what was the best choice for a given design, and [Jon] always went back to: ‘Does it make us feel delight? Does it charm our heart? Is it whimsical?’” Tazewell told Harper’s Bazaar.
All of these intricacies in Tazewell’s design style led to his monumental Academy Award win, and his meteoric rise through the costuming industry will continue to defy gravity throughout his future projects.
BY SOPHIA ROOKSBERRY ILLUSTRATION BY KENDALL WIFF DESIGN BY MORGAN CLARK
Suzanne Lee Seams:
Suzanne Lee is revolutionizing the textile industry with a unique take on how to create material — growing it yourself.
Most articles of clothing can take 20 to 200-plus years to completely decompose. In light of this environmental devastation, Lee envisioned a world where landfills are no longer chock-full of fast fashion or onceworn items.
In 2003, Lee began researching the concept of biologically based clothing as part of an academic project. This research culminated in her 2005 book, Fashioning the Future: Tomorrow’s Wardrobe. This book imagined a future where clothing was not only a fashion statement, but a product of nature.
At the same time, Lee founded BioCouture, a company focused on creating biologically based fashion technology. She began to experiment with creating clothing that wasn’t just biodegradable, but also compostable. To do this, she found a way to create fabric material from microbial cellulose.
“It’s kind of like a vegetable leather if you like,” Lee said in an interview with Dezeen Magazine.
During the material growing process, millions of microbes — microscopic organisms invisible to the naked eye — are used to synthesize cellulose. This microbial cellulose is grown in a bucket or vat filled with kombucha or sweet green tea. The bacteria within the kombucha is fed with sugar, which results in the creation of cellulose fibers.
The cellulose fibers naturally form together to create a kind of sheet material. The grown material is then used to create garments and accessories.
“The first thing is to be clear that the
clothing is the same basic fiber as their cotton T-shirt — it’s pure cellulose; it has no bacteria in it,” Lee said in an interview with Next Nature.
However, despite initial interest, BioCouture was shut down in 2012.
“We got lots of press but in terms of convincing investors that this is the future, no one was listening. We were twenty years too early … the technology was absolutely right but people just weren’t ready,” Lee told Sleek Magazine.
Yet, Lee never gave up on her vision for the future. She founded BioFabricate in 2014.
Unlike BioCouture, BioFabricate focuses on bringing together bio-innovators from around the world to envision what the material future could look like. BioFabricate has expanded outside of just producing clothing and into “sectors such as fashion, sport, wellness, mobility, interiors, construction, beauty and personal care,” according to the company’s website.
BioFabricate hosts an annual summit that aims to bring investors, creators, and brands together to discuss biotechnology. This year’s summit will take place around mid-September during the London Design Festival and will welcome innovators from around the world.
Lee has spoken about her work during a TED Talk twice, once in 2011 and again in 2020. In 2020, she explained why biofabrication is the “next industrial revolution.”
The fashion industry is responsible for 10% of the Earth’s human-caused greenhouse gas emissions. If Lee’s vision for the future comes to fruition, the next industrial revolution may bring us back to the Earth we have devolved so far away from.
BY ALEXANDRA HOPKINS
ILLUSTRATION BY KELLY ERNST DESIGN BY LESIA LESKOVSKA
WHO, WHAT, WEAR
A glimpse into some of Athens’ most captivating people, places, and events.
Art? Utility Is BLOCK: Athens
BY OLIVIA LEGGANS
ILLUSTRATION BY
MARIS CORDIAL
DESIGN BY
CARLY HART
The Athens Block is more than a walking hazard or inspiration for gift shop trinkets. The millions of bricks that make up Ohio University’s walls and roads are not only a rare time capsule of history, but also a reminder of the ways Ohio’s environmental resources can collide with creativity.
Ed Newman, Rural Action’s zero waste advisor, has been hands-on with Athens’ bricks for waste management and personal collecting purposes. Before Rural Action, Newman worked for the Athens City County Health Department as well as a manager of recycling at OU.
“My primary job in the earlier part of that was enforcing illegal dumping,” Newman said. “There's a lot of it, and one of the things I was finding in the dumps is these local bricks that people would dump. And so I got curious about them.”
In addition to finding loads of bricks in dumpsters and buried underground, Newman oversaw the transition of The Ridges from state to university ownership.
“I found a few pretty good bricks in there,” Newman said. “But, the university has tightened up a lot on what they consider surplus and how it's handled. Anybody taking anything from the university gets fired.”
Newman’s years of work in waste management are motivated by the mass misunderstandings of waste and the ways the U.S. consumes resources unnecessarily. For Newman, bricks are no different than any other resource.
“This whole democratization of materials is where I'm coming from, and creating economic activity off of it, and jobs and tax base and cycling money in the community, instead of exporting our resources out, like coal, oil, gas, and timber, which is the big value things down in Southeast Ohio where there's more biodiversity,” Newman said.
Outside of Newman’s work in repurposing and managing brick waste in Athens, he joined the International Brick Collectors Association and amassed around 14,000 bricks of varying origins.
“As collectors and historians, [we look for] not just the brick but the features of them, like the brands, or oddball features of them or their
who, what, wear
shape or design,” Newman said. “Everybody’s got their little fetish.”
Eastern regions in Ohio, including Athens County, are particularly ripe sites for brick collectors.
“Some of the local bricks around here are really high-end bricks,” Newman said. “There's a lot of them around here, but people maybe don't realize it's more the background or the infrastructure, a utilitarian thing, but if you look at it, compared to bricks everywhere, you got some of the best bricks anywhere, especially the ornamental ones.”
While brick-making may seem to be a craft of the past, Newman’s enthusiasm for bricks in practical and artistic senses cements brickmaking as an overlooked fusion of function and art.
“There's all these products from back then [and] a better use from them is utilizing them again,” Newman said. “Plus, they're just kind of utilitarian works of art, and that's kind of what I enjoy about it.”
For OU students, however, the draw of the Athens Block is typically anchored by the tradition of stealing or acquiring a brick before graduation.
Emma Thompson, a 2016 OU graduate who studied communications, wanted to carry on this tradition and felt that participation was widespread during her time in Athens.
“You would go to people's apartments and dorms and see the brick and be like, ‘Oh my God. Where did you get that?’” Thompson said. “It was definitely presented to me as a tradition thing. Everyone has one.”
Despite finding an Athens brick during her
and incurring a fine– the market for Athens Block-related merchandise emerged.
“THE REAL DRIVE WAS THE PASSION AND THE AESTHETICS AND THE HISTORY OF THE BRICK,”
JAMES ROBINSON
In 2001, artists Erin and James Robinson created an art studio named after the brick’s namesake. At Athens Block, the Robinsons make various ceramic and metalwork pieces inspired by the original brick design. As owners of the trademark for
to the tools to protect their work financially and legally.
“They don't teach you that,” Robinson said. “They don't want you to think about it. They don't even want you to wind up doing that. I guess you're supposed to either be a self-supporting poet or get a teaching job or get out of the field. Well, there is a third option they don't teach you. You can get smart and take the gloves off.”
After studying sculpture at OU, Robinson decided to capitalize on the untapped market of local, handmade artwork related to the Athens Block, and through his work, Robinson has naturally become a lover of Athens’ history.
“The real drive was the passion and the aesthetics and the history of the
brick,” Robinson said. “You can tell some bricks were at the edge of the cart. They were pushing the cart, and they accidentally shoved one of the soft ones that were stacked up. And so it curved the brick, and you can see their palm print in it. It's almost like an ancestral fossil; we can’t go back and redo that.”
Thanks to historians, graduates, and artists alike, the spirit and structures of the Athens Block have withstood the
MIDDLE OF THE BOOK
A look into Thread’s creative shoot concepts.
home grown
BY MORGAN CLARK
PHOTOS, EDITS & DESIGN
PHOTOS AND EDITS BY JORI HUSTED DESIGN BY CARLY HART
Fairytales
Textile Scrapbook
PHOTOS BY NATE CONKLIN
EDITS BY MORGAN CLARK COLLAGES BY THE DESIGN TEAM
COLLAGE
COLLAGE BY VIVIENNE JACOBSON
One
Man’s Trash is Another Man’s Treasure.
PHOTOS BY KITTY CRINO
EDITS BY JORI HUSTED DESIGN BY KELLY ERNST
Polly Pocket Looks We Like:
PHOTOS BY ZENNIA LAM
EDITS BY NATE CONKLIN
DESIGN BY NICOLE BELL
CAMPUS CASUAL
Light-hearted reads for the quiztaking, listicle reading, horoscope believin’ spirit in all of us.
TeaCakesdiy
BY ABBY JOYNER PHOTOS AND DESIGN BY HADLEY FAIN
Tea cakes are an old-fashioned Southern dessert, savored during high tea or anytime you may want a sweet treat. Light and airy, these little biscuit-like treats are neither cake nor cookie and do not rely on too much sugary sweetness for their taste. According to The Soul Food Pot, tea cakes date back to the 1600s, when they were created by enslaved African Americans to replicate European desserts using the limited ingredients provided to them. This history has stuck, and tea cakes remain a simple yet delicious confection to bake, perfect for accompanying a cup of tea, coffee, or milk.
Yield: 36 cookies
MATERIALS/INGREDIENTS NEEDED
5 cups flour
1 cup butter, softened
1 cup sugar
1 cup light brown sugar
3 eggs
2 tablespoons buttermilk
1 teaspoon baking soda
1 teaspoon vanilla extract
¼ teaspoon ground nutmeg
INSTRUCTIONS
STEP 1: With a mixer, cream butter until soft; then gradually add sugar. Beat in eggs one at a time, then add buttermilk, making sure to mix well.
STEP 2: In a separate bowl, combine flour and baking soda.
STEP 3: At a slow mixing speed, gradually add the flour and baking soda mixture to the rest of the ingredients.
STEP 4: Finally, add in vanilla and nutmeg, ensuring everything is well incorporated.
STEP 5: Shape the dough into a round block, then cover with wrap and refrigerate for several hours.
STEP 6: Preheat oven to 400 degrees and grease cookie sheets.
STEP 7: Take out the dough and roll out to ¼ inch thick, then shape into cookies (sprinkle each cookie with extra sugar, if desired).
STEP 8: Bake in the oven for 7-9 minutes, or until edges are lightly browned.
STEP 9: Enjoy!
BY AVERY ST. GEORGE ILLUSTRATION BY CARLY HART DESIGN BY GWYNETH SHOEMAKER
HOW TO STITCH UP YOUR OWN CLOTHES
Sewing has become a lost art in America, with fewer young people being taught the basics of stitching. While fashion is not for everyone, it’s important to know some skills so that you don’t have to throw out your garments anytime there’s a rip or tear. 85% of all textiles, or 21 billion tons of clothes, are sent to landfills every year, according to the Geneva Environment Network. We need to start taking better care of the clothes in our closets and avoid getting rid of an item just because a button off. Sewing is a great way to start because many fashion issues can be easily fixed with a few simple stitches. Here is your guide to a basic sewing skill: how to patch up a hole in your clothes.
Items Needed
• Thread (try to match color to clothing item)
• A small sewing needle
• Scissors
STEPS:
1 2 3 4 5 6 7 8
Turn your clothing item inside out.
Cut a strand of thread (it’s better to have too much than too little, so cut it longer than you think you need). Thread your needle, and make sure your strands are even on both sides of the needle.
Make a knot at the end of your thread. Similar to tying a shoe, make a circle using your finger and pull the thread through. Repeat 2-3 times until it’s thicker than the tip of the needle.
Hold the edges of the hole together with one hand and bring the needle through the two parts of the fabric until the needle is stopped by the knot you made. Try to stitch as close to the edge of the shirt as you can.
Bring your needle through the two parts of the fabric in the opposite direction, close to the original stitch you made.
Repeat the process of moving the needle through in alternating directions until you reach the end of the hole.
To make a final stitch, bring your needle through the fabric one more time, but before tightening it, pull your needle through the loop, then pull it tightly to close the stitch. Repeat this one or two more times until it feels sufficiently tight.
Repeat the process of moving the needle through in alternating directions until you reach the end of the hole.
what are you?pattern
BY AVERY ST. GEORGE ILLUSTRATION BY EMMA HENRY DESIGN BY ELLA HUELSKAMP
1. You and your friends are organizing a craft night. Which craft are you choosing?
paint pots for plants
bedazzled claw clips scrapbooking bracelet making
2. You finally have some free time. What reality TV show are you binge-watching?
survivor
real housewives
big brother love island
3. You’re bored one day. What hobby do you pick up?
gardening
yoga
crocheting/knitting
journaling
4. You’re planning your next vacation. Where are you going?
camping in a national park a cabin overlooking the Swiss Alps shopping in New York
All-inclusive resort on a caribbean beach
5. You’re going on a date. What plans are you making for the night?
nature walk and scenic picnic
dinner and drinks at a nice restuarant
cook dinner and watch a movie at home
grab a coffee at a cute cafe
6. Finally, what is your favorite non-clothing item?
shoes and boots
purses and bags
hair accessories and hats jewelry
You’re resourceful, just like camouflage! You approach life with a practical outlook and tackle problems headon. You’re handy around the house and have lots of useful skills like sewing and gardening. Your friends see you as street-smart and turn to you for help. Like camo, you may have been overlooked because you tend to put on a strong front, but once people get to know you, they will realize your worth and how valuable you are.
You’re classy and sassy, just like animal print! You’re the life of the party, love fashion, and take pride in your appearance. You love creating new outfits and shopping for new items. You may have accidentally splurged on a few expensive shopping trips or designer items but you just have expensive tastes. Your friends describe you as someone who is fun to be around and who is always loyal to their pack.
You’re vibrant like a floral pattern! People would describe you as having a kind heart and being very hard working. You’re pretty introverted, so you love to stay home and practice some self-care. You like to dress cute with lots of ruffles and bows, and you’re always trying out new hairstyles and accessories. Because of the way you dress, people may underestimate your abilities, but you’re also very intelligent and ambitious.
You’re classic, just like plaid! Plaid patterned clothes have been the staple wardrobe of many iconic characters like Cher from “Clueless”. Just like Cher, you’re confident in yourself, and people see you as a leader in fashion and life. You’re also very personable and can handle any social situation with ease. Beyond that, you always know what you want and are constantly working toward your goals. Your loved ones may say you work too hard, so remember to take a break once in a while, you deserve it!
WILd INDIGO THREADS
Weaving its Own Way in the Age of Fast Fashion
BY LAUREN STIDHAM
PHOTOS AND DESIGN BY NICOLE BELL
EDITS BY MORGAN CLARK
Fast fashion has polluted the clothing industry for years. Recently, we have seen an influx of Shein bikinis, Amazon matching sets, and TikTok shop gadgets while high-quality, handmade products are losing attraction.
Despite the mass-produced conglomerate co mpetitors, small businesses are still paving their way in the market. Wild Indigo Threads is a crochet company run by Indigo Chirayath, a sophomore studying marketing and strategic leadership management, who has discovered a customer base that values the quality of handmade pieces.
Chirayath’s now budding business began its journey in her dorm room.
“Last year, I lived with two studio art majors. I was never very creative or artistic, personally, in high school, I liked art and art classes, but they all knew how to crochet,” Chirayath said. “I started learning then and I picked it up really quickly, and I started selling on Depop last year.”
Outside of her online stores, she sold at popups and various markets and was successful in doing it.
“This winter break I did my first ever market at school … completely sold out,” Chirayath said.
While Chirayath’s business has found a considerable amount of success, she still faces issues keeping up with demand and competing with companies that sell mass-produced products.
“I didn’t really think about it until I got into creating clothes. I’m literally creating clothes from a string. To think that these places like Target and Shein are having crochet tank tops, I walk in and they’re selling this for $15, and then
some person is getting 10 cents an hour,” Chirayath said. “Crochet is something that can’t be imitated by a machine. So, all those things that you see crocheted in stores are child labor.”
Despite the challenges she has faced, her customers recognize the value and uniqueness that can’t be found outside of handmade products. Cassandra Wilson, a customer of Wild Indigo Threads, describes her affinity for Chirayath’s business and buying from small businesses.
“It’s just more personalized. It has more meaning and value to you because you know somebody put their time and energy into making something to make you happy for what you had requested,” Wilson said. “Even though you want to try to be consistent with your products, there’s always just that quality of having a one-of-a-kind little piece.”
Wilson also recognizes the conflict that arises when customers choose unsustainable options over handmade.
“If you’re living in a city you might have a Goodwill, but sometimes in more rural areas, you don’t have those,” Wilson said. “Being able to just get on the internet and order a cheap dress for something, it’s very budget-friendly if you don’t have access to those places. But, at the same time, the amount of waste that we create, just pushing out more products and it’s really unnecessary, especially when pieces aren’t made to last.”
The fashion industry has become plagued with many challenges, but business owners like Chirayath choose to continue their passions despite these difficult factors.
“What really makes it worth it is just seeing people’s reactions to getting a handmade piece,” Chirayath said. “My love language is gift giving, so growing up, I was always trying to get the best gifts and making baskets for everybody. Now that I can actually make something, and give it to someone handmade, is really special to me.”
How OU’s Ceramic Program Slips (Up) & Scores
BY OLIVIA LEGGANS
PHOTOS BY NICOLE BELL
BELL
Are there artists without community, resources, and support? Ohio Uni-
versity’s ceramics graduate program ranks third in the country, according to U.S. News & World Report, yet the department’s home base, Seigfred Hall, has a reputation for being slightly janky or worn in, to put it nicely. The once-vibrant hub for fine arts students now sits relatively empty with taped-off entrances and hollow elevator shafts as it undergoes construction. Yet, on the first floor, through sheets of plastic and exposed wires, ceramic students continue to mix, throw, and fire away.
The ceramics program is bound to Seigfried’s immobile kilns and wheels, but some studio classes are also offered in the Research and Technology building. Being the only program to continue operating in an active construction zone has its challenges. Kylie Houghton, a junior studying ceramics, felt that the construction creates a divide, physically and socially, in the fine arts community.
“I feel like it creates this disconnect between all of the art majors,” Houghton said. “Seigfried used to be a place where we would all be together. The worst thing about it is not being with all the other art majors and also being torn between two places constantly.”
Although the inconvenience of working in a half-demolished space greatly impacts current students, Julia Weber, a senior studying journalism, looked to the future of the ceramic program.
“I’m more than willing to make that compromise so that students down the line have better resources, better facilities, just an improved ex-
perience,” Weber said.
Though feelings of isolation may be bubbling up among ceramics majors, Houghton and Weber took the initiative to fill in the gaps in the community as Clay Club’s president and vice president, respectively.
“I feel like there’s a lot of ceramics majors, but I don’t know half of them,” Houghton said. “We work in such a close space, but we don’t even
“So, I think the biggest thing for me was just trying to bring these people together and have a space where we can all just have a passion together.”
KYLIE HOUGHTON
know each other. So, I think the biggest thing for me was just trying to bring these people together and have a space where we can all just have a passion together.”
Clay Club was also created out of gaps within the ceramics program’s curriculum.
“The main issue I have with the ceramics program is the lack of technical classes and knowledge,” Houghton said. “I feel like that’s something that should be offered, but simply because of the lack of faculty we have right now and the lack of resources, it’s just not a possibility.”
Increased interest in ceramics has exacerbated the lack of support available within OU’s ceramics program.
“We’ve had to really increase the frequency and scope of the classes that are offered to
EDITS BY NICOLE
DESIGN BY ZOE CRANFILL
accommodate interest,” Weber said. “Our faculty are still not able to accommodate the level of interest, which is really exciting, but also a challenge for the major. So, for us, this club was kind of a way to bridge that gap. Here’s an alternative where you can sort of learn some of the supplementary skills … and thinking about how we can fit into the ceramics landscape without offering classes and acting as faculty. How can we supplement that to keep people engaged in ceramics in meaningful ways?”
Being forced to take initiative in their learning, and by proxy, in their creative processes, has been fruitful in their growth as artists. Being in the Honors Tutorial College, Weber lives in limbo between the ceramics and journalism programs, squeezing the most she can out of classes while not always reaping the rewards of guidance or support from the respective departments. For Weber, however, this was not necessarily detrimental.
“Holistically, that has been a positive in my career because it has really taught me to rely on myself and to think about what I want without a lot of outside influences,” Weber said. “I don’t have to be the culmination of everyone I’ve studied from. I can also branch out and do the things that I’m interested in because I’m not really relying on anyone in a traditional sense.”
Simultaneously, Weber and Houghton expressed gratitude for the oodles of faculty and graduate instructors throughout their years: artists like Brad Schwaiger, Noah Ridell, Yani He, Tom Bartel, Stuart Gair, Sam McCall, and Jason Wing. While some, like Schwaiger, Ridell and He, were graduate students who taught during their time in the program, others served as full-time faculty. Despite the range of talented mentors — not to mention the extensive and expensive kiln infrastructure — available to ceramics students, self-reliance, forced or otherwise, is essential to an active and bubbling career in the arts.
Though hardship, exclusion, and a lack of accessibility often force students to find their process, intention, and resilience, art education must attempt to balance this with the necessary opportunities to apply their skills and communities to engage with them.
BACK OF THE CLOSET
BY EMILY GREEN ILLUSTRATION BY KENDALL WIFF DESIGN BY MARIS CORDIAL
In Athens, Ohio, where bricks are lauded as gold, lives the heart of the community: Passion Works Studio, located at 20 E. State St. Passion Works is a magical portal to a celebration of the human spirit. The kaleidoscopic studio is a beautiful space sparkling with wonder — its walls are decorated in labors of love and its floors muraled with yellow butterflies.
Passion in bloom
The executive director and founder of Passion Works, Patty Mitchell, recalled her original vision for a collaborative art studio where people with and without developmental differences could create art together. 26 years ago, in a 10-by10 foot corner of a sheltered workshop, Mitchell dreamed of cultivating an “art-first organization,” which eventually became the Passion Works studio.
“Every product has a deeper story,” she said, describing the studio’s first-ever product, the passion flower.
These flowers are collaborativelyconstructed, hand-painted, and upcycled from aluminum newspaper printing plates. With over 35,000 sold to date, these artworks have become the official flower of Athens.
“I see attraction as flowers,” Mitchell said. “The design of a flower is to attract people in.”
The Roman-ceilinged studio covered in vibrant fabric and passion flowers, also includes gigantic block letters coated in royal blues and emerald greens.
“These letters are at every [Nelsonville Music] Festival, we’ve been repainting them for years,” Mitchell said. “Each year, new paintings on them. They set them up at the music festival and then people get
their photos taken with them.”
Passion Works is powered by volunteers, some of whom include Ohio University students.
Chloe Cash, a sophomore studying marketing, said, “If I can just do a couple things that help finish a piece or a product, or help with anything needed around here, that means I was a little bit a part of that art piece, so that’s cool.”
For Cash, the most rewarding part of volunteering with Passion Works is the idea that each piece leaving the studio is a letter of love, embodying the working mission: to cultivate and support inclusive communities by inspiring and liberating the human spirit through the arts. Through encouraging interaction outside of the studio walls, creation becomes a portal of possibilities, an invisible string between artist and inspiration, connecting communities of passion flowers.
“The real beauty of the studio is the in-betweens, where people are talking and meeting,” Mitchell said.
A colorful panorama of varying artists’ stories tops a banquet table in the rear of the shop. It is purposefully placed to encourage tideful conversation and the fearless sharing of ideas. This exchange creates energy, purpose, and belonging within the unknown. Connecting this concept with the color of the floor, Mitchell explained how inclusion evolves within her studio.
“The bright colors and the floor being painted, that started because I don’t want anybody to feel bad,” Mitchell said. “People are going to drop paint … The floor is here to serve us. We’re standing on it, if you came
in and dropped a little bit of paint, don’t worry about it, we’re going to turn it into a butterfly.”
Following a pastel dragonfly in flight, Mitchell mentioned another hand that helped upcycle the petals of her Passion Works studio.
“These guitars come from Blue Eagle music,” Mitchell said, gesturing to an array of acoustic guitars unstrung to become repurposed, artistically hanging from stained wood trim. “When Frank can’t fix them, he brings them here and then we decorate them so each one is a little heart, a piece of Athens.”
This community of two-way relationships is something Mitchell understands very well.
“All this material comes from here, it’s made here, and our aesthetic is trying to capture and manifest the spirit of Athens,” Mitchell said. “That’s our goal.”
This goal is achieved in remarkable ways, one of which is altering the use of language from “disability” to “difference.”
“I just have a different way of receiving information in the world,” Mitchell said. “Each one of us is unique, we’re just different. Which is basically saying that we’re all the same together, being different. It’s a complicated thing … so, we want to have inclusive language and also not say that this person is limited, just different.”
The studio embodies the beautiful spirit of Athens in layers, encouraging creatives to vulnerably surrender to the process of discovery and play in order to reach the magic of the unknown. However, the breakthrough to the unknown is often uncomfortable, as it requires complete vulnerability. Therefore, the studio aims to infuse the air with music and laughter, striving to create ease in a flowered world, layered by petals of difference.
“The only thing we believe that we can really change is our environment, and so we just want to shift the environment so that people are happy and they can move about and have autonomy, and that people can be in an authentically integrated space,”
said Mitchell.
“Instead of waiting to be asked to be part of the community, we’ve decided to just be the party and invite people in. And then we’ll, of course, go where we’re invited. But, our whole mission is to have an inviting space where people will come in.”
The vision for that space began when Mitchell first arrived in Athens and experienced a feeling known by many upon arriving in the town: the inexplicable feeling of coming home. This was exemplified in the tenderness Mitchell strove to harness within her doors. So, when they opened, that infectious energy would return to her source of inspiration, ultimately increasing the value of downtown Athens.
This big, yellow, golden mural was kind of a dingy wall before the mural went up and it was tagged quite a bit with graffiti and garbage, and it was just kind of sad,” Mitchell said. “We put the art on it and since then nobody has touched it with graffiti or destroyed it. What these murals do is they elevate property values because it diminishes vandalism … and that mural is celebrating ‘Turn it Gold,’ which is supporting families and kids with childhood cancer. So we’re not only celebrating our artwork, but we’re able to partner with other organizations and elevate what they’re doing. And so right outside our door is an example of elevating community spaces.”
Through collaboration with the Barbara Geralds Institute for Storytelling and Social Impact and the Honors Tutorial College at OU, the studio’s influence extends into the local college community. In partnership, students have the opportunity for experiential learning from Passion Works artists. Furthermore, medical students can come in and gain social experience with people with developmental differences without waiting to have an individual doctorpatient experience.
The colorfully welcoming environment is also accented by a pool of OU students volunteering their time, one of whom is Emma Steele, a senior studying outdoor recreation and education and volunteering
to complete her festivals, events, and entertainment management certificate.
“My mom is legally blind and has very limited interaction with a lot of people,” Steele said. “She feels really isolated and lonely, and this is a really amazing place for people who have different abilities. They can come in, have a bunch of social interaction, and have a really fun time just talking with everyone.”
Passion Works is more than a studio; it is a living, breathing canvas, a flower petaled with passion, forever evolving, shaped by the hands and hearts that pass through its open doors. Messes are masterpieces, differences create community, and everyone has the chance to become repurposed. In this safe haven of creativity lies the opportunity to surrender to something greater than us all — the artistic process.
Passion Works: a vibrant symbol of attraction, an inviting party, a place where laughter dances amongst glitter, where conversation flows as freely as paint, where no drop of color or soul is ever out of place. It is not only the heart of the local community, it is a passion flower in itself: homegrown, labored in love, ever-growing, ever-reaching, and forever in bloom.
The positive health effects of looking at art are long documented. Lower blood pressure, less cortisol, and more endorphins are just some of the physical changes the body goes through when viewing art. In the fields of neuroarchitecture and neuroaesthetics, EEG machines have been used to measure brain waves in response to patterns, buildings, and colors.. The importance of public art and mindful public spaces cannot be understated; being in these places and viewing this art literally rewires the brain. Public art has recently entered a revival period, especially in small towns like Athens, Ohio. There are now over 30 murals in Athens; on the sides of stores, by streets, and tucked in alleyways. Keith Wilde is Athens’ resident muralist. He has been living and working in Athens for years since he obtained his degree in Art from Kenyon College, at first as a landscaper and professor before he found his niche in the town. Two of Wilde’s murals can be seen on South May Avenue. One of these murals is a depiction of the “Stone Soup” folk story, in which hungry soldiers demonstrate the value of community and caring. This mural, located on the side of an old grocery store turned house, reflects the idea that when people work together and offer up a little of their work, the results are larger than if they had kept it to themselves. This house promotes an interest in “self-organizing
communities,” defined as groups of local leaders who work together toward a shared goal without the influence of government. The concept is especially relevant in Athens, where places like Mount Zion Baptist Church Preservation Society and The Gathering Place offer spaces for residents to learn and gather. Unofficial communities within Athens often band together to improve their own small spaces as well. Residents of South May Avenue have responded positively to the mural of a sunflower. Over 20 people — some alone, some with families, strollers, and dogs — can be seen admiring the mural at a time. Mumblings of, “It’s nice to see your favorite flower even in the dead of winter,” and, “My kids always stop and stare,” resonate in the air around the painted sunflower. One of the muralist’s favorite comments was sent to The Post Athens by an anonymous resident soon after he finished the mural.
“This person was like, ‘I don’t know who painted the sunflowers on South May but thank you, it almost makes the speedbumps bearable,’” Wilde said. This sentiment is reflected in many public artworks within marginalized communities. One study by Bloomberg Philanthropies even found a 17% decrease in traffic incidents in areas around murals in Philadelphia. Murals support both mental health and public safety, slowing people down and forming a
conversation around physical spaces in the area.
Another one of these spaces is the Athens County Children’s Services mural under the Route 33 bridge on East State Street. This mural was commissioned by the city of Athens in a contest, which Wilde won, and he used the space to depict a group of pigeons.
“I think one of my favorite compliments ever was while working on the pigeon mural … I was on the sidewalk, it had that stoplight and everybody on that side of the road has to stop … and people are stopping at that stoplight all the time,” Wilde said. “It was a hot day. Car windows were open and there’s this young lady in the passenger seat, and she just rolls her head over, looks at the mural, and gasps. She’s like, ‘Oh, wow,’ and I was like, ‘That is the most perfect thing anybody has ever said.’”
Wilde’s inspiration for this mural came from watching birds in the desert when he realized their small shapes flickered in and out of view once they got farther away. To mimic this effect, he painted the birds with varying colors, some of them almost blending into the background. The blue background is also painted with hexagonal shapes of varying sizes to mimic the wind and the crystalline, dry air of the desert. These kinds of painting techniques are incredibly important problem-solving strategies that Wilde has perfected over the years, working with oddly shaped canvases and conducting interviews with residents to turn art
into worlds that really reflect their commission. Another of Wilde’s complex murals is located by the pavement on Carpenter Street on a little patch of privately owned wall.
“Working on the sidewalk there, you get to know the people that walk past and that’s a really special part of the process,” Wilde said.
He described some of the regulars: college students, families walking to Family Dollar, a retired art professor who stopped to chat with Wilde every time he passed. Wilde believes the people who get the most out of the mural are not artists or critics, but people who pass by it every day and digest the meaning little by little. Many parents would bring their kids to the mural while he was painting and ask the children open-ended questions about the meaning of the piece and their feelings about art. This kind of accessible artwork promotes critical thinking skills and passion in children who don’t always have the opportunity to view fine art.
These pieces also bring the community together because of their accessibility. Wilde’s most recent work has found a home in Mount Zion, a historic Black church that is slowly being revitalized as a cultural center in Athens. These murals emulate stained glass and replace the old windows in the building, depicting important figures and moments in the history of Mount Zion Baptist Church. Social hubs and
sustainable initiatives like these keep people active, connected, and passionate about their roots. They keep history alive while adding beauty to Athens.
Tee Ford-Ahmed, a community organizer in Athens and an advocate for change, is the director of communications for Mount Zion.
“One of the reasons that I’m working with Mount Zion to preserve that building is because I’m very interested in preserving history, and I think one of the ways of preserving history is through public art,” Ford-Ahmed said. “A history can be public art and it informs and entertains all at the same time.”
She said the reactions she witnessed in people learning about their own history through art. Around 10,000 people from neighboring communities have come to visit the Mount Zion murals and taken a tour, bringing economic benefits to the area. Ford-Ahmed spoke about the continuous shock they felt learning about their own small-town histories through this art.
“That was one of the most revealing and pleasurable things that I’ve learned about history as public art and art entertaining and informing folks about their past,” Ford-Ahmed said. “Not only entertaining but for this young man, it gave him a sense of pride that
he was from a town that had entertained an actual president of the United States, who had been in his town. So that’s one of the benefits that I see of public art and how Keith has contributed to the community.” There are two mural trails on the East Side and Uptown Athens that anyone can find on Keith Wilde’s website. The trails are 2.7 and 1.6 miles long, respectively. Armory Park, at the end of Court Street right by the historic Athens Armory, was recently updated. That area now has a huge, vibrant mural, a Little Free Library, seating, and a short trail passing through the park. Up the street is Mount Zion, where the huge faux stained glass mural is proudly displayed at the front of the building.
A whole day can be planned around free public art in Athens, surrounded by local stories, interests, and the self-organizing communities that created it. From Kindred Market and Village Bakery to Mount Zion on the other side of town, establishments that display public art pieces reflect community efforts to organize, support, and create with neighbors.
BY CAMI SEYMORE
PHOTOS AND EDITS BY HADLEY FAIN
DESIGN BY CARLY HART
Bobbin
Patchwork
In the heart of Athens, just 10 minutes from campus, is UpCycle Ohio, an unexpected hub of creativity where students can learn, build, craft, and innovate.
UpCycle Ohio’s Community Makerspace, located at 751 W. Union St., is a collaborative workshop home to a wood shop, metalworking equipment, a tech room, and a large fabric and craft catalog for customers to use.
The Makerspace is full of all kinds of materials, including yarn, fabrics, wood stains, buttons, and beads, which customers can use at their will for different hobbies or business ventures.
In addition to the raw material catalog, The Makerspace offers a free tool library, in partnership with the Athens County Public Library, where community members can borrow over 250 different tools ranging from drills and saws to shovels.
Heather Fuston, the manager of The Makerspace, discussed the workshop’s overarching goal: promoting environmental sustainability by repurposing materials and reducing landfill waste.
“All the materials that we sell, that we work with, that we upcycle into products, are materials that could have potentially been sent to the landfill because somebody did not need them anymore,” Fuston said.
One ongoing project within The Makerspace is a partnership with Ohio Health, where they upcycle sterilization wrap into handheld bags.
Fabricate
“Every hospital in America uses this material, but because we don’t have the infrastructure here, rurally, to collect it, it goes to the landfill,” Fuston said. “A lot of other metro areas, they can collect the material and recycle it. That just doesn’t exist here.”
Sterilization wrap is used at nearly every medical facility, whether that be to protect medical equipment or cover surgical instruments because it’s clean, strong, and water resistant. This also makes it an ideal material for repurposing.
“If we weren’t collecting this material and repurposing it, it would go to a landfill, our local landfill,” Fuston said. “I feel really excited and inspired by that project because we’re really solving a local problem with a local solution.”
The Makerspace encourages collaboration, like the sterilization wrap project, where community members can work together and learn from each other. The Makerspace also offers events, workshops, and classes for community members to learn new skills and explore new hobbies.
The Makespace recently added a mending service, where customers can get their clothes repaired. Madisyn Newport, a junior studying retail fashion merchandising and business
management, is a locally contracted mender who can replace zippers, fix a button, hem pants, or handle any other specific alteration requests.
“I’m mostly focused on alterations,” Newport said. “People bring stuff in and they want things hemmed. We fix zippers, we fix bridesmaids dresses … We fix whatever people bring in.”
Beyond repairs and alterations, The Makerspace also offers memberships that allow open access to The Makerspace materials and equipment. A monthly membership costs $30, while a yearly membership is $300. Students receive a discount, paying only $20 per month or $200 per year. For those who prefer a flexible option, punch cards are available for $50, covering 10 hours of Makerspace use, while single-hour sessions cost $15.
Open from 10 a.m. to 7 p.m. Monday through Saturday, the space is open for anyone to stop by, explore, and get inspired.
“Hang out with us, be inspired by what we’re doing,” Fuston said. “Help us create things for the community. I want people to know that they should come and visit us.”
Re-Centering Native ART
BY OLIVIA LEGGANS ILLUSTRATION BY KENDALL WIFF DESIGN BY GRETCHEN STONER
From the proliferation of land acknowledgments to gift-shop dream catchers, the contributions of Native Americans are often sensationalized for performative activism or commodified for capital gain. Jennie Klein, a professor of art history at Ohio University, discussed the history of Native American art in Athens.
“I have taught contemporary indigenous artists or native artists, and I obviously am familiar with that work,” Klein said. “But I also have some experience from knowing what was happening with our museum, which has a collection that was rather problematic.”
Klein referenced OU’s Kennedy Museum of Art, which houses a permanent collection of over
“Without active collaborations between indigenous artists and arts organizations, the mis representations or exploitation of indigenous ideas will likely continue.”
OLIVIA LEGGANS
700 textiles and 1,700 jewelry pieces from Navajo, Hopi, and Zuni origin from the southwest U.S.
“That’s [Edwin L. Kennedy’s] personal collection and a lot of the collecting was very problematic,” Klein said. “A lot of the collecting that was happening in the 19th and 20th century was very problematic. They really took advantage of the native populations.”
Klein acknowledged that Jennifer McLerran, the Kennedy Museum of Art curator from 2001-2007, was committed to “right-ing” these wrongs.
“In terms of the Kennedy collection, the other thing I should say is that a lot of it is weavings,” Klein said. “So one of the things that Jennifer McLerran tried to do was bring back some of the relatives — or in many cases, grandchildren of these weavers, and some of them were weavers themselves because it’s a tradition handed down — and collected the work for the right price … and then also had a lot of exhibitions [and] did an entire class in the museum on this. So, she was really important.”
Other than Kennedy’s connections with pawnshop owners in the Southwest, the museum did not expand on the sourcing behind some of its Native art, which it continues to exhibit and store in the archives.
“I think a lot of museums are very reluctant to divest their collections,” Klein said. “If we divested as much as we should, we would have little to nothing left because so much of it was really unethically taken.”
White’s Mill in Athens sells jewelry and other art pieces advertised as being made by Native American artists. The owners declined to be interviewed about the history and sourcing of their jewelry, dream catchers, and weavings.
“One of the issues with what happens with souvenir shops in Arizona, they are showing the Hopi and the Sioux, but it’s basically still a way of commodifying,” Klein said.
This is not to say that these cases in Athens are explicitly linked to unethical sourcing, but rather that the history of Native art’s spread into the fine arts and consumer worlds is not centered around Native artists.
With the sparse documentation of and support for Native American artists in Athens, looking at other communities may help illustrate the ways community support for Native artists can re-center them in the discussion.
Dexter Komakaru, located in Columbus, Ohio, is a visual and graphic design artist of Indigenous Northern Native American and Mexican descent. Komakaru worked with other Indigenous artists to curate a gallery exhibit for the Greater Columbus Arts Council, titled “Beyond Tradition: Indigenous Arts of Central Ohio.”
“Although people’s symbolism or iconography that they associate with Indigenous people or Native Americans is a thing of the past or something that no longer exists, or it’s a mythical story or something, Indigenous artists are still here,” Komakaru said. “We’re still actively practicing those traditions, while still also making new traditions influenced by the
lenses that are not informed by colonialism. It’s very important to not mystify our current existence based on a narrative that still is very much rooted in upholding the beliefs of colonials.”
Without active collaborations between Indigenous artists and arts organizations, the misrepresentation or exploitation of Indigenous
“A lot of the language and the framing I do when it comes to my art is communitybased and community-centered, and I try to frame it that way very purposefully and intentionally because my art is self-made,” Komakaru said. “But who I am as a person and how I got here is all created through the efforts and the love and the support of the people in the communities around me.”
Seeing successful artists from traditionally marginalized communities is a testament to both their talent and the need for community initiatives that do not simply perform, but genuinely value, support, and include artists of all backgrounds.
“It wasn’t until I came more fully into my identity as an Indigenous and a mixed-race person, as well as a trans person and a queer person, and feeling confident with that, that I began to feel more accepted into the community as a whole,” Komakaru said. “Creatively, it’s been very pleasant to see that a lot of the arts organizations and local organizations I’ve been able to work with are very progressive and very accepting.”
Mtindo, a Swahili word meaning style or trend, was a fitting description of the fashion show presented at the 2025 Global Arts Festival. Ohio University students and community members gathered on April 2 in the Baker University Theater to witness the show titled “MTINDO: A Fashion Show Celebrating Inclusion & Diversity.”
The show featured many amazing looks crafted by two of OU’s very own students. Each look exemplified creativity and passion as models brought the looks to life on stage.
Featured on the event’s brochure, MTINDO’s goal was to be a “celebration of identity, heritage, and the artistry that unites us across borders.” Through many fashionable looks, everyone involved in the show’s production did just that.
Leading up to the fashion extravaganza, a lot of work went into putting on the production. Anthonia Chris, a second year graduate student studying community dance, was the coordinator of the event and discussed the important work that went into planning MTINDO.
“Even though it was my second time doing it, last year I had a pretty large team that was supportive and that made it easier,” Chris said. “But this year, it’s been just me. It’s been a lot of running around and trying to do all the things that multiple people did last year.”
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BY SOPHIA ANNESS ILLUSTRATIONS BY EMMA HENRY DESIGN BY ELLA HUELSKAMP
The opportunity for Chris to coordinate the event came from Paschal Yao Younge, a professor of music education and the Global Arts Festival director. After two years of taking on part of the coordination for the event, Chris learned how to apply the skills she learned in her classes to organize the event.
“I use [skills] toward this event, especially in my art administration classes,” Chris said.
“Most of the things that I learn in my classes I try to see how I would use that to influence this festival and make it seem more concise.”
The show brought together students from
different countries to share fashion trends from around the world. Countries featured in the show include Thailand, Ghana, Nigeria, and South Africa.
Esther Yali-Williams, a second-year graduate student studying costume design, was one of two designers for the fashion show. Her main goal for her pieces was to bring part of African culture to OU.
“I also feel like it’s very important for people to understand where I come from and for people to understand my culture,” Yali-Williams said. “... It was really important for me to project that part of me, because being in a Western world, you do not want to lose your values.”
Each look brought something unique to the stage, the intricate prints and patterns included in the garments were brought to life by the models. Over the show’s duration, 18 models from all over the world walked across the stage, representing different cultures and identities. Each model showcased two or three different looks, each with its own story behind it. The show also included a brief intermission which featured a performance of a traditional Thai dance by a few models who wore traditional Thai garments.
Overall, the show was put together with great care and artistry, representing each culture accurately and creatively. The handmade aspect of each garment gave them a personal touch and told a story.
ANA LUISA JEWELRY
BY ABBY JOYNER
ILLUSTRATION BY COLETTE TROUT
DESIGN
BY
EMILY PETERTONJES
Ana Luisa is a jewelry company dedicated to crafting high-quality, sustainable, and inclusive jewelry designs. Since 2018, they have challenged and reshaped what sustainable and lasting jewelry can be. Every part of their production process is designed to deliver excellent, eco-friendly pieces, from special ecoboxes for shipping to 75.5% of their materials being made from recycled base materials, according to their website.
is constantly trying to improve their industry standards through audits and dedicated action. When a brand proudly showcases their collaboration with sustainable and ethical partners, the consumer is reassured by these practices upholding quality standards.
This commitment to excellence does not end solely with jewelry production. Ana Luisa also practices welcoming, inclusive customer service online or at their storefront location in SoHo, New York City.
“Quality never goes out of style,” the company states, affirming this essential facet of their brand identity. The brand backs this claim up with over 50,000 five-star reviews on their website. Their website also claims they “craft unique pieces from responsible, innovative, and recycled materials wherever possible.”
The jewelers use gold-plated brass, rhodium-plated sterling silver, gold-plated sterling silver, solid gold, lab-grown diamonds, and recycled glass to craft the variety of pieces available for purchase. Regardless of material, Ana Luisa is deeply committed to protecting the environment through beautiful, tarnish-resistant, hypoallergenic, and long-lasting jewelry.
Ana Luisa actively tracks and analyzes their greenhouse gas emissions in each part of their production process and has earned multiple climate-neutral certifications. They perform greenhouse gas inventories which provide a summary of all greenhouse gas emissions from the brand across its value chain. However, their company is not satisfied with only meeting these industry sustainability standards. Through their jewelry and continued accountability, they believe they can make a meaningful and lasting impact on both the jewelry industry and the planet.
Additionally, each brand, jewelry expert, or scientist partnered with Ana Luisa is certified to align with the brand’s ethos. According to their website, all partners have been ensured to follow health and safety protocols, stand for women’s rights, and do not tolerate child or forced labor. Furthermore, with their partners, Ana Luisa
Ana Luisa’s best sellers list features gold and silver plated statement hoops, drop earrings, necklaces, bracelets, and rings. Heart lockets, painted marble blue patterns, and studded rings are some of their most popular designs. Many of their pieces are simple, elegant, and suitable for everyday wear. Their Giulia huggie hoops and Brynley bangle bracelet are excellent staples, which could accessorize any style, aesthetic, or occasion. The price of these pieces ranges from $50-150, depending on the material and intricacy of the design.
BY AVERY TYLA
AI FASHION RANT
Artificial intelligence has quickly immersed itself in today’s society as thousands of people use it daily to find solutions and answer questions, ultimately replacing the human brain. In the fashion world, AI has become a huge tool. It has been used to predict trends so fashion brands can stay in style, as well as analyze past styles and generate new ones. AI is incorporated into 3D scanning technology to create a model of a customer’s body to create personalized, well-fitting clothes, which allows consumers to have a virtual try-on experience.
Brands such as Prada and Calvin Klein have used an AI influencer known as Lil Miquela, who was invented in 2016 by the media and technology company, Brud. She was used as a brand marketing tool, representing an ideal model. As her fame and popularity grew and people began questioning her authenticity, Lil Miquela was named one of TIME’s “Most Influential People on the Internet.”
Although there are benefits of
involving AI in the fashion industry, it also comes with its problem areas. The idea of fashion is hugely tied to creativity from the human brain to craft and produce a wide range of styles and patterns, but AI substitutes creativity for technology. Furthermore, the design process for fashion artists looks different when AI is incorporated into them.
AI can generate things, places, and people that aren’t real, like the robot Lil Miquela. She was used as a model for brands to market their retail, which can give customers a false perception of what clothing items may look like on an ideal model’s body. Lil Miquela is shown as a younger female, age 19, in a slimmer body type with facial features that fit today’s beauty standards.
AI in today’s world has demonstrated many benefits; however, it prevents creativity and innovation from the human brain from being presented through work, like fashion. It shifts society’s perspective as to what is perceived as real vs. fake.
BY NAOMI BOYES
In the fashion world, creativity has been the center of innovation, but today, a new force is shaping the industry — Artificial Intelligence. AI is not only predicting trends but is also designing future collections and transforming how we create, consume, and think about style.
Imagine walking into a store and your phone shows personalized style recommendations or browsing online and using an AI virtual fitting room. The future of fashion is no longer centered on traditional runways or stores — it is crafted by algorithms that are reshaping the industry.
AI connects creativity with precision, unlocking new possibilities. AI systems learn from data like runway footage and fashion history to suggest unique patterns, helping designers create innovative pieces. Tools like Generative Adversarial Networks generate entirely new fashion concepts, allowing designers to show AI-generated creations at fashion weeks. These surreal designs challenge our perceptions of beauty and form.
AI has redefined the shopping experience, making it more personalized. By analyzing body shapes, color preferences, and emotional responses to styles, AI offers individual recommendations. Virtual stylists, powered by AI, guide shoppers through looks for every occasion. Platforms like Stitch Fix enhance this experience by learning from user feedback to improve future shoppers’ experiences, creating a custom wardrobe.
AI has transformed online shopping in intuitive ways. With
ILLUSTRATION BY MARIS CORDIAL DESIGN BY GWYNETH
SHOEMAKER
RAVE
features like visual search, AI finds similar items from photos and AIpowered chat assistants answer questions and styling tips. This evolution in retail makes shopping personalized, seamless, and efficient.
AI has also reimagined fashion shows. Digital avatars, created through AI 3D modeling, now walk virtual runways wearing curated designs. These virtual shows bypass physical limitations, offering global retention while reducing costs for designers.
AI is redefining fashion, housing creativity, and offering new possibilities for inclusivity and selfexpression. The future of fashion is being sewn together by the invisible
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