ISSUE 11: Redefinition

R EDE F IN ITI O N

SPEC

F 2023

ISSUE 11

SPEC /spek/ In hope of succes without any commission or instruction.

We are a fashion, beauty, lifestyle, and cultural publication focused on individual and creative expression.

Cover image shot by Emi Yoshino 1

OUR TEAM TARYN SNYDER EDITOR IN CHIEF

TARA MORENO-GOODWIN

VICE PRESIDENT OF PR

MARGUERITE BYSSHE & EMI YOSHINO VICE PRESIDENTS OF PHOTOGRAPHY

YUMEI SHI & EMILIA GARZA T. CREATIVE DIRECTORS

CHLOE KOPSKY

VICE PRESIDENT OF PODCAST

MELANY DE SENSI

VICE PRESIDENT OF MERCH

SOPHIA KETTERER

VICE PRESIDENT OF FUNDRAISING AND EVENTS

GABY RUDY

VICE PRESIDENT OF WRITING

DESIGN

SHYLOH KOO ANA LUISA ROSAS PAULINA CASTRO OLIVIA HAU NICOLE LEIHE NIKO MALOUF NATAISIA HAMBIDGE

FUNDRAISING & EVENTS ALEX GARROW LAUREN CLARK TORY KO

WRITING

PHOTOGRAPHY

MERCH

PR & SOCIAL MEDIA

STELLA BRUCE GREG WARD DAISHALYN SATCHER ELLIE ORLANSKI ANABELLE LE ROUX SHAUDEH FARJAMI NIKO MALOUF ALEXA BOURNAZOS

SARAH LITTLE PEYTON KIM

BECCA SPEIER ALESSANDRA GALLO GRACE OH CHUNG EMMA LLOYD JACOB HOLLENS ASAKO ISHIBASHI MIA MCCARTHY

OLIVIA PETRETICH MAYA MAZOR ZAINA DABBOUS ELLIE SHEPARDSON KAYLA NICKFARDJAM ARMANDO LEO DOMINGO ARIEL SOLORZANO 2

Letter From

the Editor

Redefinition is a natural cycle - we are constantly evolving as we take on the past and make it our own in the present.

One of Gen Z’s most common tendencies is to do this again and again.

In Issue 9 we started setting a theme to each edition. In Issue 10 we marked a milestone and reflected on the way that eras have reappeared through fashion and culture. Closing out these past 10 issues, SPEC has entered a new chapter with Issue 11. One where we are reconsidering and redefining what makes SPEC uniquely its own and as such, theming our issue around this idea of redefinition.

My role within SPEC has changed as I have stepped into a new season as Editor in Chief. As the Editor in Chief of a print publication, I think it’s only fair to acknowledge the fact that this is a dying craft. The industry is moving into the digital , as we are too with our perSPECtive podcast and digital presence. However, we still hold dearly to those traditions that made the print magazine what it is.

The roots of the editorial magazine was a landmark in the way we visually represent the fashion industry and culture around it. Its distinctive eye created an authentic and artistic vessel to open this industry to the general public and allow us to make it our own through the tangibility of the print publication. Today, our photographers - our writers - our designers look back to the roots that birthed the editorial magazine. With that, we redefine how these old traditions find themselves in our immediate digital world. Our content reflects contemporary creative culture as we are spectators of the USC, Los Angeles, and wider industry cultures. In seeing what is bubbling up to the surface, we create content on the pulse of fashion, art, film, music, and lifestyle.

Flipping through our 11th Issue you will see how we are experiencing a moment of redefinition across industries: whether that’s the film industry after this catalytic summer or self-care appearing in our daily lives or the corporate workplace meeting with queer expression or vintage taking on new and forms as children embrace and repurpose the fashion of their parents. We finish off our glossy print with the faces of our team who bring a distinctive student perspective to these stories. With every baby photo, we go back to the beginning and see the creative individuals they have each become in their dedicated work to Issue 11. I couldn’t be more proud to have been a part of this process and the product you all hold now.

And with that, I give you Issue 11!

Sincerely, Taryn Snyder

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Main Character

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People and Their Parents

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Corporate Expression

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The Catalyst That Is the Current Film Industry

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Reembracing Femininity

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The Art of Noticing

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SPECtating: The Minds Behind

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EB Denim

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Wish Me Luck

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PerSPECtive

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Table of

CONTENTS

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TEXT BY Daishalyn Satcher

DESIGNED BY Ana Luisa Rosas

PHOTOGRAPHY BY Emi and Ellie Yoshino

PR BY Ellie Shepardson

TALENT Alan Phan, Coby Hawkins, Isabella Griggs, Jordan Cooper, Mackenzie O’Coyne, Nicky Hoekstra, Rafael Andrade, Sofia Rodriguez-Toymil

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EVERYBODY HAS THEIR STORY TO TELL Sometimes it’s their own, sometimes it’s someone else’s.

Each one of those stories has a main character, side characters, returning characters and cameos. Depending on the perspective, anyone can be cast in any role.

What defines an ‘it girl?’ Think about who society has deemed this great honor upon. The Sofia Richies, the Lori Harveys, the Paris Hiltons. Would they still be ‘it girls’ if cameras weren’t capturing their every move? If their closets weren’t advertised through brand deals and partnerships as necessities for every teenage girl? If their gym routines weren’t trending on Youtube? If there weren’t fan accounts highlighting the food they eat every day?

Through social media, we are force fed every aspect of these peoples’ lives, programming our brains to believe that what is portrayed online is what makes them unattainably special.

Due to the simple fact that social media has an incredibly large reach, it is easy for the lifestyles showcased there to become the standard. Whichever outfit of the day post gets the most likes becomes the status quo for the next month and has the capability to become a widespread fashion trend.

Social media portrayal has such a large range and such a large power. It can control the way we dress, the way we eat, the music we listen to, the way we dance, and even the way we speak. This standard could have the ability to celebrate uniqueness, but mostly encourages a form of following.

What some fail to realize is that your existence itself is an aesthetic. People try so hard to categorize themselves into a predetermined aesthetic so they are given direction on what to wear, what activities they should enjoy, what shows they should be watching, and more. For example, the cottage core lifestyle comes with an obsession with period pieces, a dedication to a soft-feminine style of dressing, and hints at a love for baking or crafting.

The aesthetics portrayed online are often the only options people think they have to choose from.

The idea of aesthetics being the end-all in this modern day leaves less room to appreciate genuine uniqueness.

Instead, everyone feels as if their life has to fit perfectly onto a Pinterest character board.

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Right now it is controlled by the like button, while in the past it has been controlled by print magazines, television and books. The need for validation has become significantly more intense because acceptance itself has become more quantifiable.

While some are busy feeding their hunger for this online validation, others are satisfied with just searching for true validation from the ones they know and love. They don’t need to be in the spotlight to know that their story matters. They live their story truly for them and not for the satisfaction or entertainment of others.

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That’s the character I strive to be. The main character is only the main character because they’re perceived as the most relatable. Well, what if you don’t relate? Growing up, in TV shows I watched and in books I read, the people that looked like me tended to be side characters. They were the funny best friend, the super smart next-door neighbor, or the mysterious loner girl with no backstory. They had basic defining qualities but that’s about as far as their personal stories went. Their sole purpose was to further the storyline of the main character. When you’re little and don’t know any better, it’s very easy to fully identify with these characters. So from a young age, I was comfortable with the idea of the side character.

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I’ve always been satisfied with the idea of being a side character, someone that is dependable and shows up when other people need me. I don’t always need to look to others for help continuing my storyline. Of course I like attention, but I like to be private too. I don’t need to be front and center with a picture perfect look all the time. I’m not put together enough for that, which I accepted a long time ago. My Instagram is not my most prized possession. It doesn’t even come close to capturing the essence of who I am. To see me is not to know me. To have heard of me is not to know me. To know me is to know me, and if that means being a side character in someone else’s story, then I’m cool with it. A side character is just a main character without an audience. I don’t need an audience to know who I am and what I bring to the table, and neither should you.

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People & Their

Parents TEXT BY Alexa Bournazos DESIGN BY Olivia Hau PHOTOGRAPHY BY Mia McCarthy PR BY Maya Mazor TALENT Alexa Bournazos, Angela Bournazos, Jasmine Amaral, Elisa Amaral, Shanna Finnigan, Stella Li, Eli Safaie-Kia, Saba Shamie, Neda Shamie

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“It’s my mom’s!” is my answer ninety percent of the time when I get a compliment on my clothing. There is nothing quite like an old bracelet, ring, jacket, or pair of jeans from mom’s closet, or even a big sweater from dad’s to really bring a look together. Today, I believe that the mix of sentimental value, comfort, originality, and style that these pieces bring can elevate an outfit by adding a special element to the ensemble.

However, I did not always feel this way.

you in a moment, it would be 13-year-old me pouting in the middle of my moms closet, my arms weighed down with piles of “hideous” clothing my mom threw at me as she pleaded, “just humor me.” Perhaps I had church to go to, or a wedding, or a nice dinner – something I needed to change out of my lululemon leggings and hoodie to attend. My mom just did not understand the avant-garde style that lululemon leggings supplied; how dare she recommend that I wear jeans!

If I could describe the idea of ‘sheer bliss,’ it would be a sixyear-old me perched in the middle of my mom’s closet, knee deep in a sea of clothes, shoes, belts, and bags. I would spend hours rummaging through the never-ending piles on the floor and clothes barely hanging on the hangers – my mom, like me, keeps a notoriously messy closet. I would drape whatever I could over my tiny body, let her high heels swallow my feet, and strut across the room as if I was a supermodel walking down the runway. There was no better place than my mom’s closet, no better clothes than those that my mom owned, and certainly no better style icon than my mom.

Over the years, I have developed my own personal style. I no longer sport leggings daily or wear high heels ten sizes too big.

I anticipated a change in personal style as I grew up, but what I did not anticipate was that my style would begin to replicate my mom’s. I often find myself getting dressed, looking in the mirror, and realizing how similar my outfit is to something that she would wear. I even find myself dressing exactly as she did when she was my age, showcased through old photos I’ve found. I definitely still channel my angsty teen on occasion, however, when she reminds me that she “had something just like that when she was my age.” But I know that she did the same thing to her mom when she was younger. Oh, the joys of girlhood.

However, if I could describe ‘bratty embarrassed teenager’ to

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USC students find a similar mystique in their parent’s closet.

After speaking with both students and their parents, it is clear that personal style can be hereditary.

In a conversation with sophomore Nina Pappas and her mother, they laughed and reminisced on the fights that would break out between Nina and her sister over items stolen from their mom’s coveted closet. Nina’s mom said, “Both of my daughters constantly fight over my clothes.

Something will miraculously go missing from my closet, and somehow my daughters will start a war in our house over who it belongs to. At this point the clothes have been totally taken over [...]

They always go for my striped pieces. We all share a similar love of stripes.” She then goes on to speak about how special it has been watching her daughters grow up and develop their own personal styles.

“I love seeing their style evolve as they grow older and mature.

However, I don’t always love it because that means more of my closet goes missing.”

Sophomore Henry Ruland discussed grappling with his opinions on his mother’s style.

He said, “She is much more preppy than I am. I didn’t used to like it. In fact, I went through a stage where I was very anti (her style). But now I have a comfort and appreciation for how she dressed, and can see it maybe, possibly, even influencing me.”

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Corporate s e s r p i o x n E

TEXT BY Greg Ward DESIGN BY Paulina Castro PHOTOGRAPHY BY Alessandra Gallo Trosso TALENT Felipe MacAllister Lexa Ornes Ella Rene Elijah Ruano 17

I love to get my nails done. I am a male presenting person, whose color of choice is “bubblegum pink.” My painted nails have become a representation of my queerness.

When I paint my nails pink, I feel that I show off my feminine side. It’s my way of “camp-ifying” myself.

However, the day before I started my first internship, I got my nail polish taken off. I did not want my superiors to know I was queer, and I wanted to blend in with the rest of the interns. The lady at the salon was confused when she saw me come in, because this time, I was not asking for my usual. The next day, I walked into the office and looked down at my colorless nails. All I saw were pale, unpolished stubs. A representation of my queerness, of who I am, was gone.

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How can queer people express themselves in the workplace?

Queer people are proud deviants of society. They break societal gender norms and propel fashion forward by making bold statements. In recent years, more fashion in the mainstream media has taken a queer spin: Harry Styles’ Vogue cover, Billy Porter’s Oscar gown, or Janelle Monáe’s sparkly bikini at the Met, are just a few. But what happens when there are no cameras or red carpet? What happens when queer folk want to express themselves in an everyday setting?

Following COVID-19, dress codes in workplaces changed dramatically, and business formal turned to business casual. Americans went from wearing blazers, pantyhose, and ties, to wearing t-shirts, Doc Martens, and New Balances. With these new trends in the workplace, what happens to queer expression?

In a professional setting, many queer people do not express themselves as queer, because of the risk of facing workplace harassment and discrimination.

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In 2021, the Williams Institute at UCLA’s School of Law found that 46% of LGBTQIA workers reported receiving unfair treatment in their workplace because of their sexual orientation or gender identity. Many of these employees reported that they “code-switched” or engaged in “covering.” This included changing their physical appearance to follow norms. For example, in the study, 36.4% of transgender employees said they have changed their physical appearance in the workplace to feel more accepted by their coworkers and superiors.

Queer people propel society and fashion forward, but still, many queer people do not feel comfortable expressing themselves in a workplace setting. How can Billy Porter wear a gown in front of the world, but I get scared to paint my nails pink when going into the office?

To grapple with these questions, we turned to photography.

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Setting the queer office scene When photographer Alessandra Gallo Trosso began preparing for the shoot, she first wanted to show the restriction queer people feel in workplace settings. The first set of photos demonstrate gender norms: male presenting people in blazers and slacks, and female presenting people in skirts and dresses. Nothing really special except the usual crew neck sweater.

Then, in the next set of photos, the models break these norms. The design of each outfit was intentional, as it was inspired by the models being asked, “What would you wear in an office if you had no dress code restrictions?” The slacks were replaced with a black skirt, the blazers with leather jackets, and the dresses with ties. Gallo Trosso felt it was crucial for all the models to be in a black base. “Black is rebellious,” she said, “and queerness is a form of rebellion.”

For Gallo Trosso, the stand-out shot was model Felipe MacAllister sitting on a couch, dressed in a black skirt, with his leg lifted up. “You can see it in his body. He feels relaxed, free, and like himself,” she said.

All of the models, according to Gallo Trosso, were part of the queer community. “There was this beautiful hum in the room,” she said. “I watched as they all became more confident.”

When creating the setting for the shoot, Gallo Trosso wanted to portray variety in queer expression. For some male presenting people, having a black skirt with a white button-down makes them feel at home. For others, they keep the pants but add a leather jacket to showcase their style. The point of queer expression is that it breaks away from binaries, restrictive labels, and norms. There are no rules to follow in queer expression.

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How do we continue to stray from the rules?

Every workplace is different, so here are some tips for expressing yourself as the queer icon that you are:

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Queer expressions can be simple! You do not need the six-inch heels. Nails, jewelry, and hairstyles are a great way to change it up.

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Know your rights! In 2020, the Supreme Court ruled employment discrimination based on sexual orientation or gender identity as illegal. Some states go even further and have their own separate laws to protect queer people.

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Be an advocate! Ask your workplace to implement gender-neutral and trans-inclusive dress codes. Switch from: “Men should wear slacks,” to “All employees cannot wear jeans.”

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(...and most importantly) Protect yourself! Not all environments are queer-friendly. Code-switching is your best friend in these situations. Nevertheless, if work is not a place where you can express yourself, make sure you are finding a community outside of work where you can. Go to a gay club, join a queer kickball league, or host a dinner party with all your queer friends.

I have decided to continue painting my nails. I love hearing the “tap-tap-tap” sound coming off my keyboard when I type. Another layer of “bubblegum pink,” please.

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the

Catalyst that is the Current

Film Industry

TEXT BY Ellie Orlanski

PHOTOGRAPHY BY Grace Oh

DESIGN BY Nicole Leihe

TALENT Sara Lloreda Manuela Garay

PR BY Ariel Solorzano

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lowly, nearly every aspect of our lives has shifted to accommodate –even embrace– the internet. So it should come as no surprise that the film industry did the same.

Streaming services, though they had been popular for a couple of decades, took center stage in the midst of the pandemic.

With everything closed, millions of people spent their time watching movies, all from their own homes.

Possibly to the dismay of the film industry, this home-centric habit outlasted quarantine. This is not too surprising. Not only do streaming services offer the ease of on-demand viewing of your favorite comfort movie, but increasingly, they are offering quick, or even exclusive, access to new films.

However, despite its appeals of ease and low cost, streaming is not a universal good. With paradigm-altering technologies comes changes to business and revenue structure – and as an extension, how people get paid.

For the film industry, this meant a shift in how residuals are doled out.

Residuals are payments made by studios and producers to actors, directors, writers and others when a movie or TV show is rerun or reused.

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For instance, following the ubiquity of VHS and cable TV in the late 1970s, a series of strikes by the actors and writers unions ensued: The 1981, 1982, 1985, and 1988 WGA strikes were all in response to pay television and home video, with the 1988 strike being the longest in WGA history at the time. Similarly, in the mid 2000s, the WGA went on strike largely in response to disputes over DVD and internet-based residuals.

The 2023 strikes were no exception. In response to the rise of streaming and the explosion of generative AI, the WGA and SAG-AFTRA sought a renegotiation of their residuals as well as protections from studio usage digital cloning of actors or software like ChatGPT. After over a hundred days of striking from each union, deals were finally reached. The WGA ratified an agreement with increased foreign streaming residuals and new viewership based streaming residuals.

SAG-AFTRA received a streaming participation bonus. Both groups also received protections from AI - a deeply contentious issue in the negotiation process - along with other additional changes such as increased healthcare benefits, meaning these union members will feel better about working in streaming in the CODA, a Best Picture winner, was distributed byAppleTV. Disney’s remake of Mulan was released exclusively on Disney+. Greta Gerwig’s Barbie has been available to stream as of September 12th, a mere 53 days after its theatrical release.

Although streaming often offers us the same movies we could see in theater – and sometimes those we can’t – it is a fundamentally different experience.

Instead of sitting in an overstuffed recliner staring at an enormous IMAX screen, you’re probably streaming a movie under a pile of blankets in your bed, with your face ten inches away from your glowing laptop screen.

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While it might seem strange that a previously communal experience has been exchanged for a solo activity, the fact is that over the last five years, the way we consume media has radically shifted. We have begun to cultivate a hyper-individualized self, held in the palm of our hands. inspiration for our next favorite trend. Netflix, or Hulu, or one of the other dozens of streaming platforms offer “Top picks for You.” Even the food we eat is being personalized through food and grocery delivery apps.

All of this creates a unique, digital “You.” In many ways, this is wonderful; you no longer have to waste time sifting through movies (or trends, or TV shows, or food) that you were never going to like. In the age of the internet, finding things that we love has become a little bit easier. Netflix has nearly 4,000 movies in its catalog. You would never be able to look through all those films on your own. However, algorithms can search enormous

databases to find your next favorite movie by a director you’ve never heard of, and they can offer you three more like it, all in a matter of seconds.

But in many ways, the advent of streaming is a loss. Many of the central aspects of moviegoing are removed. Sure, both streaming and watching in-theater accomplish the same end goal – watching a movie. But the theater is a dedicated place for watching movies, just as an arena is a dedicated place for watching sports. There is something special about being there and experiencing a film with all the other strangers who came to the same screening as you.

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Streaming is personal. It happens in your home, and it matches your taste.

It grew so commonplace that many thought that “The Theater” as we knew it was dead.

But this summer, Greta Gerwig’s Barbie and Christopher Nolan’s Oppenheimer (affectionately referred to as “Barbenheimer” due to their same-day release, resulting in a double feature of sorts) shattered that assumption.

Despite their exclusively theatrical release, the films broke box office records.

People returned to the theater to participate in the spectacle of “Barbenheimer.” In fact, people dressed up in pink to attend their Barbie screenings and purchased “I survived Barbeinheimer” t-shirts.

Our return to “The Theater” was not one of mere spectation, but of participation.

Perhaps, the future of film is dichotomized: At home, we have the comfort and individuality of streaming. In our constantly connected society, it could be nice to have a place where our taste is curated, but not shared; where we can enjoy something privately, that is tailored “for You,” but not be expected to like or comment. In the theater, we have a communal experience. The cinema offers us a chance to immerse ourselves in a world beyond our screens, sharing an experience with a room full of strangers, all gathered there on the basis of shared excitement and curiosity.

The movies may not be the cultural touchstone that they were 50 years ago. But neither is the internet. We’ve adapted to the internet age, and so will the movies. In this catalyst of a summer, we saw a resurgence of theatergoers and simultaneously, a resurgence of theater lovers fighting for their rights. As the dust settles from these two events, we will have to wait and see what a resurgence of the theater itself looks like in an age where it may not be the primary medium of film for much longer.

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TEXT BY Daishalyn Satcher and Niko Malouf

PR BY Zaina Dabbous

DESiGN BY Niko Malouf

TALENT Morgan Dodero, Tara Moreno-Goodwin, Lohit Nambiar

PHOTOGRAPHY BY Emma Lloyd 29

i n n i i m t y e F 30

Femininity isn’t just a look; that’s where people get confused.

It has become a nature that is hard to define due to its endless versatility. It can be delicate, but strong. Light-hearted, but serious.

Flawless, yet full of mistakes. It has evolved from its boxy connotation into more of an umbrella under which attributes can fall.

Femininity is as much an understanding as it is an aesthetic. It’s a level of respect for embracing individuality and the power that lies within that. The word femininity is usually tied to women, but it doesn’t have to be. The feminine dress and the feminine touch have now evolved to include the feminine urge as well as feminine energy. The foundation of femininity was based on what meets the eye, but modernity has catapulted it beyond that.

In the past, society was run by women in silence. They were expected to handle a

multitude of things on their plate while maintaining an impossibly “perfect” appearance.

They were expected to physically bounce back from giving birth right away as if it had never happened. They were expected to keep a smile on their face as they carried our their daily responsibilities even if their menstrual cycles were eating them alive inside. They had many unspoken expectations, however, the coming of the new age has given them the ability to redefine.

The redefinition of femininity is more prevalent on the inside than the outside. Feminine energy has always been present, but what it looks like is becoming more inclusive. While certain clothes, shoes, or accessories a woman wore used to define their feminine presence, now, these tangible things only enhance it on the surface. Feminine energy is achieved today when a woman takes ownership of her feminine presence and this can show up in a variety of ways.

There’s beauty in individuality. There’s also a beauty in collectivism. Femininity can’t be 31

defined without the idea of collectivity, a space in which individuality is celebrated within a group. It’s about seeing as well as being seen. Watching and appreciating while others succeed, and respecting the known trials and tribulations that come with that success.

Women support women, but women also just support.

It’s in our nature to.

Being in a room full of men and knowing the other woman in the room has your back is the true comfort of femininity. Knowing that the women before you paved the way for your success, that your rights were fought for and earned, and knowing that you have the task of spreading that energy for the next generation in spaces that need redefining is a different level of empowerment. It’s an empowerment that is generations in the making.

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Men have also found ways to embrace hyperfemininity as supplement to, not replacement for, their male identity.

Many men are challenging the strict binary that has historically defined femininity and masculinity. In doing so, they’ve proven that these terms do not need to be mutually exclusive.

Take, for example, the poet and motivational speaker Alok Vaid-Menon, who was assigned male at birth but is visibly gender non-conforming and embodies fluidity. A lot of the time, Vaid-Menon embraces a hyperfeminine aesthetic.

That being said, Vaid-Menon is still, at once, masculine, feminine, and none of the above.

Their power lies in words and their ability to turn hardship surrounding gender identity into poetry. Their embracement of hyperfemininity does not siphon the attention of global audiences away from their power, but rather acts as a triumphant emblem of the two forces – femininity and strength – being synonymous, concurrent.

Femininity is not specific to women, just as masculinity is not specific to men.

And the power that many men find in embracing hyperfemininity is not always to challenge their assumed gender, but rather to subvert societal expectations by being feminine, masculine, and powerful.

Historically, visible hypermasculinity has been viewed as the highway to power. Only dark suits in the boardroom and such. But there are some men who are willing to shed this social norm and still dare to pursue and achieve their own power.

As Vaid-Menon says,

“We have been taught to fear the very things that have the potential to set us free.”

Even though they are counterparts, femininity doesn’t need to be defined by the standards of masculinity. The two can coexist without one overpowering the other. So, the best thing we can do for femininity now is embrace it, in all its fashion and fortitude, as individuals and as a collective that is wise enough to appreciate its boundless beauty.

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THE ART OF NOTICING

TEXT BY Annabelle Le Roux DESIGN BY Shyloh Koo PHOTOGRAPHY BY Marguerite Bysshe PR BY AJ Domingo TALENT Ariel Solorzano, Safira Khan, Vedanshi Sharma, Yana Savitsky

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Learning to “notice things” has the power to revolutionize the way we live today. The action of “noticing” may sound inconsequential and perhaps even menial, but in reality, it’s integral to living a happy life. When we think of what “self-care,” “mindfulness,” or “meditation” looks like, “noticing” is not always the first term that comes to mind - but it should be. From filmmakers, to great Buddhist monks, to novelists, one thing they have in common is the ability to notice the small things. “Noticing” is an art form. We all hold this ability to pay attention to the little things, and yet many of us forget how important it is to do so. How often do we truly practice gratitude for small wonders in our lives?

This said, it isn’t surprising that most people find it difficult to make an art out of noticing. Some of our brains are specifically wired to fail to notice. The amount of digital media we consume on a daily basis is definitely a factor, and undoubtedly hinders our ability to focus on one small thing at a time. Although it might not be totally our fault, we are the only ones capable of taking agency for rewiring our own brains. If we focus on the bad, the bad is likely to appear. This negative cycle can continue if we don’t make a concentrated effort to find the good in life. So, why not try practicing noticing as a daily form of self care?

Perhaps the concept of self-care seems trivialized. Indeed, its presentation in modern media tends to include a bubble bath or face mask. We must recognize, though, that the term itself includes the word “self.” It’s all about what caring for yourself looks like to YOU. While to some it might look like yoga or a bubble bath, to others it means spending more time living in the moment. 7 After interviewing a few students on what they view to be “self-care,” it has become clear that each person’s definition is different. One student explained that a combination of opposites can form a successful balance of self-care, including sleeping in, eating dessert, working out, and getting her hair done. Although some may seem “better” for your body than others, all of these awareness to the way you live your life to bring yourself peace.

Activities are things that make her feel good, and she noticed that about herself. Another student explained how it was sometimes about, “letting [herself] wallow,” 37

when she was feeling down. Here “noticing” applied internally too. We sometimes feel a large pressure to pull ourselves together or present a happy face when, in reality, sometimes we need to simply feel our own sadness. The last student perceived self-care to be “finding small acts in everyday life” to bring a “sense of contentment to your current situation.”

This, I think, perfectly summarizes the idea of the art of noticing. It is about bringing a heightened awareness to the way you live your life to bring yourself peace.

Reflection and noticing are things we are all capable of practicing and should try to integrate into our daily lives. The only moment we have ever experienced living in is the present.

Why don’t we cherish it?

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SPEC TATING THE MINDS BEHIND

With “Spectating,” we are reintroducing a spread section that spotlights and connects creatives across USC and the greater Los Angeles area. With Issue 11, we are looking at the minds behind some of LA’s most cult-followed brands.

EB Denim

While the fashion industry was once run generation after generation by familial maisons, the industry has seen a distinctive shift marked by individual entrepreneurship that is redefining what brands look like today. Enter EB Denim and Wish Me Luck!

a profile on Elena Bonvicini’s denim brand TEXT BY Stella Bruce DESIGN BY Nicole Leihe PHOTOGRAPHY BY Becca Speier PR BY Kayla Nickfardjam TALENT Elena Bonvicini

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Whether it’s the bellbottoms of the ’70s, the high-waisted mom fit from the ‘90s, or the low-rise styles associated with the 2000s, denim has undergone a captivating evolution. This versatile fabric’s cuts and trends have cycled through the decades, but continue to hold a timeless place in every American wardrobe.

From vintage-inspired, classic blue jeans to contemporary, trendy designs, denim caters to a wide range of consumer preferences and styles.

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lena Bonvicini, the founder of the beloved brand EB Denim, perfectly encapsulates the reinvention of this staple fabric.

She has worked to change the trajectory of denim’s evolution both in terms of its production and its style. The brand’s diverse collection of denim pieces serves a wide range of customers, ensuring that everyone can find a piece that resonates with their unique style. Much like the magical pair of jeans in ‘Sisterhood of the Traveling Pants,’ Bonvicini’s creations carry with them a transformative power, connecting people through both style and individuality. As Bonvicini said herself, “I’ve always wanted to feel like an individual; a little of a black sheep.

Making my own clothes was a way to invent pieces that no one else had that I imagined.”

The brand’s roots can be traced back to Bonvicini’s regular trips to the Midwest to visit family. It is there that she found the spark that ignited EB Denim’s unique journey and provided the framework for its identity. Alongside her grandmother, Bonvicini discovered the hidden potential of vintage men’s jeans, often priced as low as $0.25.

Inspired by her finds, Bonvicini began upcycling these jeans into modernized women’s denim. Initially selling cutoff reworked shorts and evolving to resizing the pants she sourced with the help of sewing classes as the seasons changed. What started as a hobby soon transformed into a passion of breathing new life into discarded denim. Bonvicini attests the popularity of her creations to her personal touch. Today, EB Denim is a global brand and a staple in leading retail outlets like Revolve and Saks Fifth Avenue.

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From thrifting escapades to dressing Hollywood icons, the story of Bonvicini and her brand is a testament to how personal expression, creativity, and sustainability can reshape and give life to secondhand pieces. What started with trunk shows hosted by university sororities quickly became a global brand with celebrity endorsements from fashion icons like Hailey Bieber, Kylie Jenner, Bella Hadid, and most recently, Taylor Swift.

Bonvicini said that “whenever I see anyone wearing my designs it’s always a pinch me moment - celebrity or not! [...]

People look to these people for fashion inspiration daily, so it definitely adds credibility to your brand when someone who has access and ability to wear any brand they want is choosing yours. Beyond that, celebrities and influencers have access to so many brands and products, and when they choose to wear and support your brand it really is an amazing feeling.”

Despite the brand’s Midwest origin, Bonvicini takes great pride in her commitment to producing garments exclusively in Los Angeles. According to her, “growing so quickly without any background knowledge about clothing and no production team, I had to be in the weeds every day making sure the product was

being developed and made properly.” The locality of the brand has also provided an opportunity to both maintain quality control and ensure her team’s well-being. By offering access to the world’s top denim washes sourced in LA, EB Denim holds a competitive edge in the fashion market. This, Bonvicini believes, significantly elevates the quality of her offerings.

Additionally, in an industry often plagued by global supply chain issues in the post-COVID economy, Bonvicini’s commitment to local production sets her brand apart.

Looking to the future, Bonvicini envisions endless possibilities for EB Denim. She intends to continue following her gut and designing pieces that she not only loves but wants to showcase in her everyday attire and yet she is committed to ushering in products that you truly cannot find anywhere else.

With that in mind, she aims to set foot into new and exciting categories merging denim with other elements of fashion to continue innovating the industry. Her commitment to the brand’s creative vision and her unwavering dedication to advancing the rich historical legacy of denim lie at the heart of EB Denim.

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SPEC TATING THE MINDS BEHIND

WISH ME LUCK It is no coincidence that “Dreams Come True Snapback” is a top seller at Wish Me Luck. Fashion designer David Guerra serves as a foil for the folk wisdom: opportunity knocks when you least expect it. After all, if he was not ready for it, he would not have had the opportunity. His booming Los Angeles based luxury clothing brand rings far beyond cropped bomber jackets, trucker caps, and inventive graphic tees. The heart of Wish Me Luck lies in the raw honesty and functionality of Guerra’s designs. Influenced by his hometown of South Los Angeles, his Mexican heritage flair, and the facets of modern rap culture, Guerra’s iconic looks stem from his active and practical qualities.

As a lover of all things nature and hands-on, Guerra experienced the struggle of searching for pieces of clothing that could sustain a sturdy, outdoor environment while still serving a modish look. Appealing to both the college student yearning for the current fashion and his own uncle who couldn’t care less about trends, Guerra aims to find a balance between the two by producing timeless clothing that a gamut of individuals can enjoy and appreciate.

Perhaps Guerra’s versatility and operative outlook originates from his interior design background. Upon graduating with a B.S. from California State University, Northridge in 2021, Guerra cycled between design firms for two years.

“Fashion just kind of happened randomly,” he said. Just like any other steady follower of the rising fashion entrepreneurship on social media, Guerra discovered Wish Me Luck on a tagged post. Meeting the founder of Wish Me Luck at a

TEXT BY Shaudeh Farjami 49

DESIGN BY Ana Luisa Rosas

local art show marked the beginning of his journey. Introducing himself to the founder with the mere expectation of making friends and artistic industry connections, Guerra had no idea that his fashion designing career was just around the corner.

Much to Guerra’s surprise, the founder reached out a few days later asking for help packaging and boxing orders. It did not take long for Wish Me Luck to recognize Guerra’s motivated, creative, and hungry demeanor. A basic spreadsheet for a hat progressed to a jacket, a baby tee, and a belt.

“Now, I’m designing for the whole brand,” he said. So long for interior design for the foreseeable future. Last summer, Guerra accepted a full-time offer as the fashion designer for Wish Me Luck. Like a sparking lightbulb effect, Guerra said, “Opportunities don’t come around like this, maybe this is happening for some type of reason.”

His chic, a la mode eye for style came naturally to Guerra.

“I was just like in that circle of people,” he said. Growing up in a generation where aspiring entrepreneurs started as early as school-aged years, many of Guerra’s middle school and high school peers coined clothing brands. Designing one-off tees, hoodies, and shoes on the weekly with his own equipment, Guerra’s first experiences and exposure to fashion started by furthering his classmates. If you asked his high school self about his future endeavors in fashion design, he would suggest, “Maybe I could do it as a side gig to interior design.” If only the gifted, selfless, and passionate adolescent knew that this “side gig” would end up landing him a full-time job.

PHOTOGRAPHY BY Jacob Hollens TALENT David Guerra

PR BY Kayla Nickfardjam

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Guerra’s zest for artistic design traces long before his teenage years. Speaking of his blossoming ardor as an eight year old, Guerra recollected memories waltzing the house with a pack of white paper in one hand and a pen in the other, sketching, doodling, and drawing religiously. “I don’t know what made me do that, but I had genuine care for doing it. That’s really what started everything,” he said.

Similar to his two cents on opportunity itself is his position on inspiration. In Guerra’s experience, inspiration charges at full speed when he is least anticipating it. In fact, much of his inspiration stems from entities that do not have to do with clothing at all. A flower, a building, a car— Guerra’s inspiration and stylistic influence is as open minded as his profession. Most notably, color combinations, patterns, and subjects stimulate Guerra’s artistic eye.

“I’ll be in a conversation and have to pull away. ‘Wait one second,’ take a quick photo, and proceed.” Guerra truly does not let opportunity pass him by. A spontaneous snapshot is just the match igniting the flame of Guerra’s design process when brainstorming his next project at Wish Me Luck. While going through the motions of his everyday life, Guerra’s lens always leans into inspiration, even when he is not necessarily looking for it. Reclining at his desktop is the trigger where the real magic kicks in. “Oh, this could probably go on a jacket maybe, or shirt. And I just start going from there,” he said.

To Guerra, the design process is all about incorporating his personal style while working within the boundaries of the brand. All the different aromas and fragrances that make up his aesthetic filter into the blended collection of Wish Me Luck. The mentality of the process depends on a consistent and honest mindset, “[...] literally trusting whatever idea you have, there’s no right or wrong. There’s not good or bad. Literally make whatever you want to make,” he said. The process rides on honestly within the designer, honesty within the team, and honesty within the product.

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The output is an absolute confidence in a new design, while avoiding the sense of delusion that it is the best piece ever. In essence, it is all about the fashion designer’s motive and mindset. Despite the fact that Wish Me Luck gained lots of traction from social media, Guerra continues to freely design.“I design whatever comes to mind and hope for the best. Any success or popularity over an item is totally out of my control.” In the design world, there is a consumer target out there for everyone. “Especially with a brand,” said Guerra. “If you push it enough, you’re going to find your people and you’re going to find your loyal fans.”

Aside from having a huge sense of confidence, Guerra advises rising fashion entrepreneurs to “Ask yourself questions and be aware of what you are doing it all for,” he said. With the success, the traction, and the entrepreneurial growth, it is easy to lose sight of what you are doing it all for.

“It’s okay to not do it one day,” Guerra said regarding young designers. “No pressure, things change. I can wake up tomorrow and not want to do this anymore, and that’s totally fine. No one is telling me to do this. I do it every day because I wake up and I’m like, ‘Yeah, this is exactly what I want to do right now.’”

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PERSPECTIVE

TEXT BY Chloe Kopsky DESIGN BY Shyloh Koo PHOTOGRAPHY BY Asako Ishibashi PR BY Olivia Petretich TALENT Chloe Kopsky

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When Chloe Kopsky joined SPEC Magazine, she knew that she wanted to highlight the interesting stories of USC students. She was fascinated by every person she met: students were starting businesses, making full-length films, producing whole albums, the list goes on. She wondered why students perspective’s weren’t being shared and set out to change that. And so the perSPECtive podcast was born!

Whether it be their upbringings, side hustles, internships, or aspirations, perSPECtive believes every person at USC has a narrative that's worth sharing. So this podcast was made in an effort to capture those unique perspectives and, for a minute, see the world through the eyes of USC's most innovative thinkers. Hosted by Chloe Kopsky, she sits down with an array of students and navigates their life stories through honest, engaging conversation.

Since its inception in spring 2022, perSPECtive has produced 3 seasons, conducted 20+ interviews and exceeded 3,000 downloads. From carbon offsets to music festivals to Netflix actors, perSPECtive has documented a wide variety of stories and experiences — and we don’t plan on stopping there in season 4. Scan the QR codes below to give perSPECtive a listen.

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HNGR

Ep. 1 with

Jake Sacks

To kick off season 3 and the highly anticipated return of the perSPECtive podcast, Chloe sits down with Jake Sacks - founder of HNGR app. This platform provides users with a new, aesthetic way to keep track of and discover new dining experiences. From finding web designers to TikTok strategy to consumer research, we talk about the entirety of Jake’s entrepreneurial journey with HNGR. But Jake's impact doesn’t stop there. He has played a pivotal role in nurturing the entrepreneurial spirit at USC, where he initiated the Founder's Society. This organization empowers entrepreneurs by providing an ecosystem for collaboration and mutual support. Listen to the full episode to hear all about this and more!

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Ep. 2

LAV Natalie Felikian with

In the second episode of Season 3, Chloe engages in conversation with Natalie Felikian, the innovative mind behind LAV, a salad dressing company set to launch in just a few months! LAV, a word that signifies "well" in the Armenian language, embodies a salad dressing brand crafted from Armenian-inspired, anti-inflammatory, whole-food ingredients. With convenient single-serve LAV ensures that you can “dress well” wherever you are. Tune in to hear about Natalie’s challenges and successes of being a first-time entrepreneur and student venturing into the world of Consumer Packaged Goods (CPG).

Ep. 3

Sophisticated Spreads Emmy Rener with

In Season 3 Episode 3 of perSPECtive, Chloe chats with successful entrepreneur Emmy Rener. During her 2020 gap year, she founded Sophisticated Spreads: an LA-based charcuterie board company specializing in cheeseboard boxes that are delivered to your doorstep as well as large grazing table events.

Leveraging social media and a “launch quickly, adapt later” mindset she has been able to scale scale the business to found new products, serve countless 60+ people events, and even make boards for celebrities such as Jessica Alba and Sophia Vergara. Tune in to hear the amazing stories of how Emmy has built sophisticated spreads from the ground up!

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meet the

SPEC

Taryn Snyder

Chloe Kopsky

Sofia Ketterer

Emilia Garza T.

Tara Moreno-Goodwin

Yumei Shi

Annabelle Le Roux

Ariel Solorzano

Ellie Orlanski

Emma Lloyd

Maya Mazor

Zaina Dabbous

Mia McCarthy

Tory Ko

Asako Ishibashi

TEAM

Lauren Clark

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Olivia Petretich

Alexa Bournazos

Alessandra Gallo

Grace Oh Chung

Marguerite Bysshe

Nicole Leihe

Nataisia Hambidge

Stella Bruce

Ellie Shepardson

Becca Speier

Daishalyn Satcher

Niko Malouf

Paulina Castro

Peyton Kim

Melany De Sensi

Ana Luisa Rosas

Gabriella Rudy

Ellie Orlanski

Olivia Hau

Kayla Nickfardjam

Shyloh Koo

Shaudeh Farjami

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SPEC ISSUE 11