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SL SL STEPHENS LIFE

STEPHENS LIFE


all By Cailyn Santee

They tell us we must be small. But how? How can one be small when we hold the entire universe in our bellies They tell us we must be quiet We must be delicate. We must be pretty dainty domestic docile small But how? We speak in battle cries. Our bodies reconstruct quietly along with the moon our eyes hold the tides of every sea and yet still they have the nerve to tell us that we must be small. How enlightening it will be when they find out just how devastating it is to attempt to fit a burning star into an envelope.


STAFF Creative Director Kalynn Coy COPY + RESEARCH Writers Azizah Badwan Mary Kate Hafner Samantha Spears Anna Tripolitis ART DIRECTION Art Directors Alexandra Martin Julie Valentine Editor at Large Taylor Barber Managing Editors Madelyne Allen Madisson Alexander Lead Photographer Alexanderia Rinehart Graphic Designers Lauren Carlson Monica Nakamatsu Jennifer Zink Stylist Jessica Russell Photoshoot Assitant Bella Lightner COMMUNITY OUTREACH Director of PR + Outreach Allison I. Moorman Managing Editor Caitlyn Gardner Music Editor Tiffany Schmidt Outreach Coordinators Katelyn Bartels Suhey Campos Brooke Richardson Kirby Smith

ADMINISTRATION Staff Adviser Amy Parris Stephens Life is the student magazine of Stephens College in Columbia. Opinions expressed in Stephens Life are not necessarily the views of the college, students, administration, faculty or staff. Stephens Life strives for accuracy. To report a correction or clarification, please send an email to kalcoy14@sc.stephens.edu Stephens Life welcomes your comments and letters to the editor. If you would like to be published, please send your work to kalcoy14@sc.stephens.edu


LETTER

FROM THE

EDITOR

We are on the precipice of a major transition as a nation. As a new President-elect prepares to assume the role of Commander in Chief, change remains inevitable. Nevertheless, the legacy of President Obama will be echoed throughout history. No matter what occurs over the next four years, no one can erase the legacy of America’s 44th president. The changing face of politics is not the only transition that we will see this year, nor is it the most powerful in our day-to-day lives. College is a time for transition. Upon entering my senior year, the brevity of college stands obvious. Yet, through these four brief years we are fundamentally transformed, enlightened and redefined. During this time we are also given an opportunity to create a mark on the Stephens community. Stephens Life has provided an unparalleled opportunity for us to leave a legacy within our campus. During my three semesters as creative director, I have worked with a plethora of gifted creatives to redesign and advance a publication that has stood paramount to the Stephens Community for nearly a century. Our team has worked tirelessly to create an outstanding magazine that reflects the phenomenal talent and ideas of Stephens College, with verified success, as the last issue has been recognized for three national awards. Although recognition may carry weight, the real impact of our legacies relies on our ability to inspire others, our eagerness to work, our willingness to make our voices known and the ideas we put forth. These tenets have directed many of Stephens Life’s developments over the past three semesters, yet they became particularly significant throughout this issue, as our staff explored the shifts taking place within Stephens Community and throughout the country. As the nation prepares for an era of major transition, we must remind ourselves that we, too, are in a period of personal change. Although these changes may appear trivial in comparison to those that will take place on a national scale, we cannot neglect the influence they will carry over in our own lives.

Kalynn Coy


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Letter from the Editor A New Edge Optical Illusion Red Alarm The Famed and the Fractured Pretty in Ink Microaggressions Eat Faces In Good Company Staff Pages Raise Your Hand If...


A NEW EDGE Sampson Hall Stephens new building dedicated to the Physician’s

Assistant major is as beautiful as it is functional.

Story by Katelyn Bartels Photography by Taylor Barber


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ust in time for the fall 2016 semester at Stephens College, a newly renovated building opened its doors to welcome graduate students to the Physician’s Assistant program. From the demolition in November of 2015, Sampson Hall has been transformed into a state-of-the-art facility ready to match the rigorous new PA program. Stephens College’s PA program is currently in the hands of Program Director Eric Johnson. The program has received accreditation from the Accreditation Review Commission on Education for the Physician Assistant (ARCPA). Students are able to rest assured that the education they are receiving is reliable and highly ranked. Johnson notes that this school is particularly rigorous compared to other programs, with the first semester allotting for 24 credit hours — nearly a third higher than the standard 18 offered throughout most PA programs in the country. The students follow the same schedule, creating a strong team dynamic. On the main level, the Declaration of Geneva Physician’s Oath is proudly displayed. This oath serves as a testament to the program’s ethics, describing the student’s dedication to the humanity of medicine. Across the street from historic Hickman Hall, Sampson’s sleek exterior stands out from the rest of campus. Its glass doors and open stairwells offer a new modern look, juxtaposed against the scenery for which Stephens is traditionally known. Stepping inside, visitors are greeted with a vibrant illuminated wall with a list of donor names. Tucked intimately against the stairwell, treehouse meeting rooms with floor to ceiling windows encourage small discussion between students. To offer more realistic interactions, the program plans to integrate performing arts students and incoming medical students to act as real patients in the mock clinic. “The idea of having actors come into the classroom in medicine is not new,” says Johnson. “The actors come and are briefed on their condition and what they should be doing. The possibilities for a collaboration are great.” Although every door in the building is secure, each graduate student is granted 24-hour access for those late night study sessions. For the students on the medical side of Stephens, this renovation was not only an exciting upgrade, but a necessary one. To correspond with the

College’s groundbreaking new program, the methods of learning had to keep up. In response, Stephens opted to offer a cadaver based anatomy program, unlike many programs who rely on multimedia simulations. According to Johnson, only half of PA programs have cadavers. Architects chose to place the cadaver lab on the fourth floor, another uncommon decision. Most cadaver labs are situated in basements, yet Stephens opted to place the lab on the top floor of Sampson Hall. "The glass front [of the building] and open concept makes a world of difference when studying and working in the anatomy lab. Compared to other schools, where the anatomy labs and study rooms are in the basement with no windows, here at Stephens the natural light and openness of the building makes it feel more like a home,” said Dana Heggemann, a PA student. Stepping inside the lab, visitors are greeted with an aura of somber sterilization. Steel tables with accompanying computers and medical kits line the walls. Surprisingly, there is no trace of odor. The cadavers are operated on cutting edge downward-draft tables that push air down and out, maintaining a cool temperature day and night. Panoramic windows frame the fourth floor lab flooding the room with natural light, producing a soothing learning environment despite the corpses present. This reduces student anxiety, as they work with their first patient, and have their first encounter with death. Having real, physical cadavers instead of virtual technology encourages tactical learning, giving the students a better experience. Boasting one of the most competitive Physician’s Assistants programs in the nation offers Stephens a competitive new edge. Heggemann says, “It is difficult to compare any undergrad and graduate programs. It is a complete lifestyle change. The study habits, challenges and level of expectations are different. I am thankful for the way Stephens undergrad has prepared me, but the PA program will continue to develop me as a well-rounded person and future health care provider.” The progressive program paired with technologically advanced facilities will not only attract new students and recognition, but also further distinguish Stephens as Sampson Hall ushers Stephens College historic legacy into the 21st Century.


OPTICAL ILLUSIONS


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Story by Kalynn Coy Photography by Julie Valentine

Boys don’t make passes at girls who wear glasses, or so the old saying goes. However, a more nefarious side to the eyewear industry than petty platitudes lurks just out of frame.

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tepping into an optical showroom, customers are greeted with a plethora of colors, styles and materials. Frames from dozens of designers catch a patient's eye. Despite this vast assortment of brand names, it appears the eyeglass market is far less diverse than at first glance. Eyewear was once seen as a uniform for the perpetually unfashionable. Over the past decade, this stereotype has been turned on its head, as glasses have become increasingly mainstream. Seventy-five percent of all Americans use some sort of vision correction, according to the Vision Council of America. The massive demand for eyewear has given birth to a rapidly growing industry. Market analysts estimate that the $90 billion premium eyewear industry will increase more than 64 percent over the next four years, reaching $140 billion by 2020. In response to the need for eyewear that fulfills both fashion and function, an ever-increasing assortment of frames have become available to consumers. “There’s so many brands and each brand carries so many styles. One brand will have five or six different options, so there really is a lot,” said Cheryl Parnell, optical assistant at Mizzou Optical. Following basic economic theory, the number of eyewear brands available should lead low prices for consumers. According to the principles of supply and demand, competitive marketplaces promote lower prices, as competitors vie for shopper’s attentions, offering the lowest possible price. Yet, eyeglasses appear to defy this standard.


Although the industry is inundated with brands, the price of these glasses remains at an all-time high. According to Consumer Reports, customers spend an average of $275 after insurance for a new pair of glasses. Without insurance these costs run even higher. “I paid $800 for my glasses,” said Rachel Mallinson, sophomore digital filmmaking student at Stephens College. In comparison, a new MacBook Air retails at $799. With markups as high as 400 percent, the retail price of eyewear seems to defy the base principles of economics. After a closer look, it becomes clear why a few pieces of plastic, glass and screws costs as much as a revolutionary technological advancement — monopolization. The eyewear industry may appear saturated when looking over the brands available; however, glasses are rarely manufactured by the name listed on their label. In order to cut back on costs, brands often license their names to specialists with the ability to produce their glasses for a lower price. Most brands available to consumers are manufactured by the same distributors: The Safilo Group, De Rigo, Marchon Eyewear, Marcolin and Luxottica. Of these five organizations, Luxottica reigns dominant with control of over 80 percent of the eyewear industry according to Forbes. It is also likely that Luxottica owns the shop itself. The retailer has mastered manufacturing, distributing and selling eyewear with 200,000 wholesale distributors and 7,000 stores, including Lenscrafters, Sunglass Hut and Pearle Vision. Luxottica also owns EyeMed Vision Care, the second largest vison insurance company in the United States. Courtney Cothren, assistant teaching professor at the University of Missouri, worked with Luxottica during her career as an accessories buyer at Neiman Marcus. “Luxottica certainly accounted for the largest part of our [eyewear],” Cothren said. “We also carried Oliver Peoples which was independently owned at the time but is now owned by guess who... Luxottica.” Cothren notes that they also carried brands from Optical Shop of Aspen, which was purchased by Luxottica in 2006.

LUXOTTICA OWNS EVERY PART OF THE CHANNEL, FROM A VISION BENEFIT COMPANY TO A LENS LABORATORY, TO PRESCRIPTION DOCTOR’S OFFICES, TO RETAIL STORES, TO THE BRANDS THEMSELVES.


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13 As the organization has gained prominence, Luxottica has focused on vertical integration, maintaining strict control of all aspects of production. This integration allows the corporation to quickly respond to consumer needs and market trends. Luxottica is able to set the price standard in the eyewear market, leading to exorbitant prices, while simultaneously reducing their production costs. “They can save on cost at every step in the channel and increase their markup by not paying outside providers,” Cothren said Production costs are not the only factor affected by this massive vertical integration. Luxottica has used their immersive distribution chain to defy traditional seasons and buying practices, by pulling products from outside retailers and selling them in their own stores instead of offering markdowns. “At the end of the season the buyer negotiates with the vendor and sends back slow selling styles … This system works well for Luxottica, as the company is so vertically integrated. They can turn around and sell those glasses at their retail stores like Sunglass Hut or Ilori. Their domination of the entire distribution channel sets them apart and gives them so much power in the industry,” said Cothren. Luxottica’s dominion of the marketplace has marked the organization as a goliath in the eyewear market, exempting the company from standard retail buying practice and policies. Yet, over the past decade, a number of startups have emerged, providing consumers with more power and loosening Luxottica’s grip on the eyewear market. Introducing competition to the formerly fixed marketplace, startups from Warby Parker to Eponym have emerged as leaders for this rebellion. These retailers have adopted the key component of Luxottica’s arsenal, utilizing vertical integration to provide consumers with what were once unfathomably low prices. With prices between $6-200 for premium eyewear, these retailers stand in stark contrast to Luxottica and their 400 percent markup.

“It’s a common myth that eyewear is supposed to be expensive…There’s this idea that your first pair of glasses cost $300 or $400, and it shouldn’t be so expensive,“ said Rachel Cantrell, content marketing associate for Eponym. We have a direct model where we can skip the middleman which means that we can bring our frames to customers directly at a cost that’s more affordable.” The Internet has provided new channels of distribution allowing startups to reverse the old status quo, allowing brands to one-day rival corporate titans like Luxottica. “Warby Parker’s distribution strategy has been a disrupter,” said Cothren. “They aren’t large enough to hurt Luxottica on a large scale, but I bet that Luxottica has been watching the company closely. Warby Parker has been able to offer stylish, high-quality frames at a really competitive price point. We’re also in a period where some retail customers aren’t placing a high priority on wearing branded goods which would certainly help brands like Warby Parker and hurt brands like Chanel.” Warby Parker is not alone in their quest against Luxottica. Eponym recently secured a partnership with Alice + Olivia and Jason Wu, and is in the process of signing on more brands. "We’re really excited about working with some of the best brands in the world. The idea is that we want to become an alternative to Luxottica, for amazing brands. That’s the ultimate goal for us.“ Cantrell said. These retailers have begun to transform the eyewear industry, promoting transparency, accountability and low prices. Although Luxottica continues to dominate the eyeglass industry, these startups have ignited the revolution, allowing customers to see the eyeglass industry clearly.


Story by Elissa Fochtman Photography by Alexanderia Rinehart

R e d A l a r m


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he mental health of college millennials is alarming. The number of students developing mental illnesses is a health crisis, according to Psychologist Alicia Flatt. “The age at which mental disorders manifest themselves is between 18 and 24, which coincides directly with the average age of student enrollment in higher education.” Flatt notes that suicide rates in adolescents have tripled in the past 60 years, and 12-18 percent of college students are being treated for a mental health issue. Having such a large portion of one demographic afflicted with mental illness greatly affects our country’s trajectory. Colleges and the United States government must work to find a solution to turn these statistics around. Many researchers attribute the rise in mental illness to unrealistic expectations put on today’s youth. Students are going into debt for tuition without the guarantee of employment following graduation. To compensate, students feel pressure to get outstanding grades, be involved and have a job while in college. However, being thrust into such hectic schedules while learning how to live on your own poses an issue for many young students. Students are not prepared for the rigor of higher education, largely due to lenient grading structures in high school. Flatt found that, from 1966 to 2006, the number of students receiving grades of either A or A- increased by 153 percent. Tobie Roberts, a junior at Stephens College and resident director says her parents expected her to get all A’s in college, just like she did in high school. “They thought I should be able to just do it again,” Roberts said. However, she is in the rigorous Fashion Design program with classes far more challenging than those offered at her high school. Roberts also blames her stress on Stephens’ expectations, “We just don’t understand the difference between pushing someone and overexerting, and people get burned out real quick. Stephens should really fix their expectations of students, because a student shouldn’t be in eight organizations and also work to pay for tuition, get good grades, and do well.” Alissa Pei, the director of Residential

MilLennial Mental Health Life, agrees. “Our student leaders wear many hats. They don’t just do one or two things. They do fifteen,” said Pei. “It takes experience to understand time management, and to remember that they are students first.” Many colleges do not have the counseling staff to support increasing demands, and the government does not have an extensive program to aide millennial mental illness. The longer students go untreated, the worse their mental health becomes. Medicaid made the improvement of recognizing mental illness as a necessary benefit in private health insurance plans. Therefore, all Medicaid users have some sort of access to mental health. However, the program has low rates, which makes mental health professionals weary of becoming a provider. As there are people who are now able to secure mental health treatment for the first time in their lives, there is a great demand for mental health professionals. In order for individuals to get the correct treatment, more providers would have to accept Medicaid. This issue directly affects college-aged students and millennials, as they are within the groups most likely to use Medicaid. The mental health of students is an imperative issue, one that collegiate institutions and the US government must address. Colleges need more counselors available for their students in general. The government must allow for an addition to Medicaid’s mental health program, extending services to include more providers. Today’s students will be tomorrow’s leaders. If we neglect their needs now, it will come back to haunt us for generations to come.


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“12 – 18% of college students are being treated for a mental health issue” Alicia Flatt, Psychologist


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THE FAMED + THE FRACTURED Story By Mary Kate Hafner Photography by Julie Valentine Decades of debate, thrashed reputations and the decision has been left to us.

Should an artist’s work live and die by

its producer? A musician, professor and

film organizer give their take on the ever evolving topic.


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I

woke to my phone illuminating bizarre notifications announcing, “David Bowie is dead.” It had all the makings of another hoax. Information based on rumor and excitement for a good headline. I was full of doubt until my lethargic eyes glazed onto the CNN browser confirming the impossible. It wasn’t long before my shining light for Bowie was quietly dimmed. I learned of Bowie’s history with under age groupies during the ‘70s. I realized then I did not know David Jones. I only knew him as his persona, David Bowie. It was Bowie who I had loved, not his real life counterpart. It was Bowie, not Jones, I had allowed to influence my every decision from personal style to my college major. Over the following months, my mind returned to the symbolic relationship between an artist and their art. There are countless examples of overlooked or over excused controversies where celebrity artists are given a get-out-of-jail free card for popularity. Examples include the continuing scandal over Woody Allen’s relationship with his family, the ongoing behavior of Chris Brown or Lena Dunham’s revelations in her memoir. Even the beloved Walt Disney was labeled racist, antiSemitist, misogynist and a McCarthyist. Do we excuse their humanity based on success and popularity? Why is a celebrity’s history of transgression only referred to as a troubled past? Should we forgive them? After all, they are only human. Humans are flawed — even the talented and famous ones. If we dove into the private lives of every artist whose work we admire, we will resurface soaking with antipathy. Isn’t it their humanity that we are attracted to in the first place? “I can be a million different things to a million different people,” says Spencer Westphalen, a classically trained musician attending the University of Missouri. He is also the drummer and lead singer of local Columbia band, Mangosteen. As a musician, Westphalen believes that artists should be separated from their work. He says that his lyrics and ideas are a way of expression, for people to bring into their own lives. “But that’s how I want people to receive the music. I don’t want them to take whatever I say as one specific thing. I want them to make their own versions,” said Westphalen.

“A lot of my songs are reflections of previous stages in life like relationships. I try to see how I can reflect it to certain themes happening in that time of my life,” said Westphalen. “Some of the songs that I write, I write them for me in a sense, but I wouldn’t necessarily want a listener to see it through my shoes. I want someone to relate to it and see something in their own life.” They are celebrities with a generation of youth looking up to them. Should a higher standard be kept? Travis Shaffer says no. Shaffer is an assistant professor of art at the University of Missouri Columbia, as well as an internationally successful visual artist. He has had work exhibited at the Museum Brandhorst, Arts Santa Monica and the Gagosian Galley. His works ‘after Ruscha’ are held in public collections including the Brooklyn Museum and Yale University’s Beinecke Rare Book and Manuscript Library. “Is it reasonable for us to expect someone who has gained a kind of success to act differently? I wouldn’t,” says Shaffer, “Two general thoughts. One of them is that we all wear the burden of our decisions. You can argue whether we all have the same level or relationship to consequence with our decisions and maybe it’s very apparent that isn’t true but we all still wear the responsibility of our decision.” Barbie Banks, director of the Citizen Jane Film Festival, echoed Shaffer when she said, “If you’re a shitty person and you’re trying to make it big, it’s going to affect you. That’s just kind of the nature of it.” By nature humanity has developed an out of control fascination on celebrity artists, idealizing these figures to become larger than life. “There is a kind of romanticize thing that gets projected on the arts either because artists are so weird or so exciting from a distance. You have this thing where people feel like they can unlock the mystery in the work,” said Shaffer. Artists such as Kanye West have been deemed artistic geniuses of our time. Critics have suspected that his work has fused into his life serving as the motive behind his outrageous behavior. The public loves it. We scrape up every crumb of celebrity from the cutting room floor and feast. Entire magazines and TV shows have been devoted to the newsworthiness of celebrity.


Spencer Westphalen, Mangosteen


“I don’t think artists are geniuses anymore than anyone,” said Shaffer. “I don’t want to say we take them too seriously. I think art is very important. But maybe we take the people who make it more seriously than the things they make.” Shaffer asserts that in order to have the motivation to make something, it has to matter to you. From directing to writing to acting, art is an expression of a person. It is important for that person to know what they’re talking about. “For cultural reasons if someone’s art is really focused around Native Americans, what is their connection to it? You want to be able to represent and portray them in a right and positive way and that might be hard if they [the artist] have zero connection.” Banks said. Citizen Jane is a film festival that showcases films directed by women. When asked about whether or not a filmmaker’s behavior would affect their entrance into the festival, Banks said that unless there is conflict with the film’s feminist values there would not be a panel of review. She pointed out that the festival has never had to deal with extreme controversies with women. It’s true. Of the lengthy list of problematic artists, few are women. “I think women artists are held to a higher standard,” said Banks. “You can’t slip up because it affects the whole gender rather than just them.” “I personally don’t know if you can separate an artist and their work. When you look at Woody Allen, I know his films are good but I don’t want to give money to them because I don’t want to support that. I don’t think you can separate the two especially in this day and age when you know so much about the people,“ Banks said. However, she admits when it comes to her professional position, personal feelings need to be pushed aside and compromises made. There isn’t a clear conclusion to the question. Most likely there never will be. Do we turn down the radio a little when R Kelly pops up? Quietly suppressing car dance moves while deeming the music ‘a guilty pleasure'. Forgiveness and acceptance could be as nuanced and biased as an artist-to-artist situation. What artist X did was appalling, but I can forgive artist Y because after all they did make my favorite movie. Historically, the separation of an artist from their work is remote. Shaffer points out that in the past, an artist could not be separated from their art any more than a politician could be separated from their personality. The cult of celebrity is not contained in our 21st century lives. We love a compelling story and the cultural influences that come with it. David Bowie, my own problematic favorite, may have left us some guidance when he said, “All art is unstable. Its meaning is not necessarily that implied by the author. There is no authoritative voice. There are only multiple readings.”


Distinct. Legendary. Unique. Columbia’s ONly Boutique Hotel.


pretty in

INK

Story + Photography: Alexandra Martin Clothing: Muse + Cha Boutique


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tatwho

who wears their heart on their skin?

14% = 46 million Of all adults in the United States have at least one tattoo

31% 58% 32% Of people with tattoos say that it makes them feel more sexy

Of women have tattoos

Of people with tattoos admit they are addicted to getting tattoos

$1,650,500,000 Annual amount of U.S. spending on tattoos


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“CAN I TOUCH YOUR HAIR?”


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Micro A

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Story by Azizah Badwan Design by Monica Nakamatsu

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That’s the number of microaggressions I experienced over the course of a week at Stephens College. It’s the number of times I felt belittled, demeaned and demoralized by my white counterparts. The number of times my culture and way of being were subtly mocked with insensitive jokes and commentary. The number of times I told myself, let it go. Don’t react. The number of times I’m reminded this campus has an issue that has been ignored for far too long. Microaggressions are defined by Columbia University psychologist, Derald Wing Sue, Ph.D., as everyday insults, indignities and demeaning messages sent to people of color by well-intentioned white people who are unaware of the hidden messages being sent to them. They are statements that demonstrate bias of a culture or minority group in a subtle and passiveaggressive manner, and are categorized as “micro” because of their use in individual and private settings which creates a sense of anonymity, making it seem as if the transgression is trivial. Microaggressions are often used as an umbrella term for any type of subtle racial expression. Sue developed a classification system to identify three common types of racial transgressions, which exemplify microagressions: microassaults, microinsults and microinvalidations. Microassaults are blatantly racist, conscious and intentional actions or slurs. An example of a microassault is someone calling a black person the N-word or displaying a swastika. Microinsults include verbal and nonverbal communications that subtly convey rudeness and insensitivity, demeaning a person’s racial heritage or identity. They are exemplified when a student of color is asked how they were able to acquire a position of high stature in an academic or work setting. Commenting on how articulate a person of color is by saying, “You speak so well,” is another example of a microinsult. Both instances imply the person of color is acting in a way that contradicts their culture. The final racial transgression, microinvalidations, are communications that subtly exclude, negate or nullify the thoughts, feelings or experiential reality of a person of color. This type of transgression is perpetuated when the phrase, “All Lives Matter” is used in juxtaposition with “Black Lives Matter,” discrediting the feelings of black people who are defined solely by color in the United States. These three types of microaggressions are a key element in everyday intercultural communication and have played an integral role in the lives of marginalized populations.


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Despite their subtle nature, microaggressions can cause severe psychological distress. In his research, Sue found participants subjected to microaggressions felt “as if they don’t belong, that they are abnormal or that they are untrustworthy.” Such feelings are only too familiar for many people of color at Stephens. Realizing we must work twice as hard in and out of the classroom to feel we are on a level playing field with our white counterparts, only increases the feeling that we do not belong. “They [faculty and students] automatically expect you to be a mediocre student who does just enough to get by, put in minimal input and barely come to class,” Parris Davis ‘18 said. “When we defy their expectations they’ll say things like ‘Oh my God, you’re such a good student.’ Why wouldn’t I be?” These feelings ignite when students touch our hair and ask “How’d you get your hair like that”. They’re the feelings we get when we notice a white board in a class with “Black Lives Matter” smeared or erased. These situations result in p eople of color feeling as if we have no true home at Stephens College. “No matter how you intended it to come across, the important thing is how you made a person feel.” said Marlena Thompson ‘18. “Many people justify microaggressions saying, ‘She didn’t mean it like that’ but there are people who think that way... allow yourself to be educated and willing to accept that you offended someone.” We as a community have the power to change that perception. In order to move toward a truly inclusive campus, we must first understand that one person’s perception, is not another person’s reality. Once we acknowledge our differences, it becomes a question of developing ways for everyone to be respected and safe. Expanding your social group, befriending people who are of a different race, religion or sexual orientation is essential to achieving this goal. It can be as simple as politely asking someone a question to ensure that you don’t offend someone else. After moderating the town hall meeting following the racial tensions in Columbia in 2016, several white students approached me to ask, “Do you prefer to be called African American or black?” It is clear that there is a lack of education and knowledge surrounding people of color on this campus. It is important to remain open-minded about these questions and topics, as we work to eradicate microaggressions from our campus. Stephens College prides itself on diversity. Like fingerprints, no two students are the same, because no two students share the same experiences. Our community differs in realms of diversity: cultural, geographical, sexual, religious and socioeconomic. But what is diversity without inclusion? What type of campus do we want to be? A campus that calls itself diverse and inclusive in name, or a campus committed to acting on that diversity, devoted to include and respect everyone. If we, as individuals and as a community, are to achieve this goal, we must actively strive to eliminate microaggressions from our interactions each and every day.


“DO YOU SHOWER WITH THAT ON?”


Eat.

Organic. Plentiful. Fresh. Serving as a healthful blessing to stomachs of the Columbia community, Nourish CafÊ + Market has become the vegan’s sweetheart. They have shared their favorite dishes with us to fill you and your Instagram feed with delicious and nutritious food.

Story + Photography by Madisson Alexander + Alexandra Martin


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acai berry Ingredients 2 tbsp. dried acai powder 1 cup of berries 1 banana ½ cup fresh squeezed orange juice 2 tbsp. grain free granola 1 cup cashews (optional) 2 tbsp. chia seeds Instructions Blend ingredients until smooth. Transfer the mixture to a bowl. Add nuts and additional toppings if desired.


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spinach salad Ingredients 16 oz. fresh spinach 1 cup mandarin oranges 1 avocado, peeled and cubed 1 cup blueberries 1 cup walnuts 2 tbsp. honey 2 tbsp. olive oil salt to taste Instructions Toss spinach, mandarin oranges, avocado, blueberries and walnuts in a large bowl. Combine oil, honey and salt. Drizzle dressing over salad and enjoy.


f a c e s

Stephens College strives daily to celebrate its multifaceted community. The many faces of Stephens College are what give the community its vibrant creativity. Stephens Life has highlighted a few of the bright stars on campus that make Stephens our home Stephens is defined by its multifaceted array of students. The many faces of Stephens College provide our community with its vibrant creativity and unparalleled uniqueness. Stephens Life highlights a few of the bright stars on campus that make Stephens our home.


Interviews by: Azizah Badwan, Mary Kate Hafner + Anna Tripolitis Photography by: Alexandra Martin + Alexanderia Rinehart


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Lockwood Q: What motivated you to enter fashion design?

Q: Would you recommend studying abroad?

A: I was a ballet dancer for 12 years and thought I was going to pursue dancing, until I came to terms with what the [ballet] world entailed. And then I started thinking — you know I love sewing and I love designing clothing. Why isn’t this also a feasible option for me?

A: I would recommend anyone to study abroad anywhere. London is a very interesting place because it’s so many different cultures immersed, but any place will push you in ways you never expected and expand your knowledge.

Q:How would you describe your unique design perspective?

Q: You’re known for being a strong and proud feminist. Do you see that translating into your designs?

A: My love for vintage clothing is relevant in my designs. I cater to a girl who is very much like myself. She’s empowered. She’s edgy. She’s fearless. She is not afraid to wear things that maybe don’t go together or styles that conflict. At the same time, I think I cater to a broad number of women. Pop culture and art are major influences for my work.

A: One of the most important things to me is when you wear the clothing, how it makes you feel. I want it to make the wearer feel confident. My clothing focuses on how it’s okay to be an empowered feminist that is also feminine.

Q: What made you choose London to study abroad?

A: That definitely comes from my mother who is a feminist librarian and probably the coolest woman around. Being raised by someone who from birth taught me that I am all I need and my life should never revolve around a romantic relationship. My life should revolve around my own success and career.

A: Paris was the first place that I considered. When I started thinking about it, I wasn’t sure it was the right city to fit my aesthetic. So, I thought about London. It’s much more contemporary and I feel like I could connect with it on a personal basis because of my heritage and upbringing which was filled with English pop culture and stories. I found myself much more inspired by London life, the culture and the people there. It didn’t hurt that London College of Fashion is one of the best schools in the world. The education they offered strengthened me tenfold. Q: How have you seen your designs change since your time abroad? A: My designs have become more contemporary since going over[seas]. I’ve seen a lot of my competition worldwide, so I know what people are doing. I think that global awareness really resonated within me. I don’t think it was something I could had ever done without going to London and fully immersing myself in the culture. I really got to know the place and fell in love with it. Q: How would you compare the programs in London and Columbia? A: There are definite advantages to both schools. Stephens education stood out compared to other schools. I would say I was from Stephens College and no one would know what that meant but then they would see my work and people definitely noticed.

Q: Where do you think your feminist strength comes from?

Q: Did your mother’s female empowerment message influence your decision in choosing a women’s college? A: Until Stephens, I did not have a positive experience with women, mainly because of the ballet school I was in. It was just very cutthroat and people were very mean. I was so scared the women at Stephens would be mean or exclusive. Stephens has shown me how women can, and should, empower each other in everything they do. It’s incredible. Q: What has been your proudest Stephens moment? A: My proudest Stephens moment would be my submission for the Council of Fashion Designers of America last year. I did a collection in process and concept and submitted it to the CFDA for a huge scholarship. I never would had thought I would be able to do that. Or when I won the Excellence in Fashion Illustration award last year. I was not expecting it.


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Kreibich Q: What do you like to do outside of school? A: I enjoy riding horses, doing events with the local

roller derby league and reading cheesy fiction books.

Q: What have been some roadblocks you’ve had to overcome? How do you deal with that?

A: The biggest roadblock I’ve had to overcome in my

college career was deciding what direction I wanted to take. When I came to school, I thought it would help me fine-tune what I wanted to do. But instead it gave me so many inspirations. It was really hard to pick a direction. Oh, and I got diagnosed with a progressive connective tissue disease. That made life a little difficult and only added to my uncertainty. The best way to overcome uncertainty is to talk to as many people, in as many fields, as possible. I tried everything, put my feet into many different possible career paths and sent emails to people all over the country about research careers. Unlike most college students, progressively losing my ability to walk and being sick a lot made the road a little bumpy. You just have to keep treading water, reach out to your teachers and friends for accommodation and support and take the time it takes to recover.

Q: What’s your favorite aspect of Stephens College? A: The community! Living in the dorms and being

in such close proximity to your professors and colleagues gives you such a family feel. You always have support when you need it. Have a homework or study crises? Have an existential crisis? Go talk or email a professor and get prompt help. They genuinely care and will do all they can to help you. Or they will throw candy in your face and let you freak out to them. You are never alone or without support at Stephens. I couldn’t have made it through without them.

Q: How has Stephens shaped you into the woman you are today?

A: Stephens has given me the drive and confidence

to reach out and talk to people, be enthusiastic in my quirky ideas and my research, embrace my individuality in a world scared of diversity and be confident in my skills going into the workforce. The mentorship of my professors, advisors and the advice of strong alumni has given me a fantastic base to my professional career, as well as an amazing network of experience and advice.

Q: How has being a Stephens woman helped you on your success in and off campus?

A: Stephens has taught me to advocate for myself

both in the classroom and out. When I first came to Stephens, I was insecure about myself and my skills. As my time here comes to an end, I have learned that your most valuable asset is your drive and your confidence. If you don’t advocate for yourself nothing gets done. I learned that you get as much out of education as you put into it, meaning be confident and ask all the questions, try everything and have fun. Everything is more fun when you don’t care about what other people think of you. I often roll around in my wheelchair and sing “They see me rollin’, they hatin” from that one song that no one knows the rest of the lyrics to. Thanks to Stephens and a fantastic professor recommendation, I got my internship at Mizzou’s Cognitive Neuroscience lab. I got to go to a fantastic research conference in Chicago and meet several Nobel Prize winners who inspired me further to continue in science. I also got to present at a science research conference last spring where, because of the presentation skills and confidence I gained at Stephens, I placed ahead of the Mizzou Undergraduates. As I mentioned, I have a progressive connective tissue disease, which means I get sick a lot. I’m constantly in and out of doctors offices and clinics. Being a strong advocate for myself has allowed me to research and be confident about my treatment plans and advocate for the life I want to lead.

Q: If you had advice for other Stephens women about

finding success and overcoming obstacles, what would it be?

A: Overcoming obstacles is all about being supported

and in the right mindset. However, it is never too early to be working toward quality of life, which is often forgotten when working toward big dreams and goals. Remember that not only do you need the support of your friends to achieve your goals, you also need to be there to support them. Learning how to cooperate with and live with others is an important life skill; however, taking care of yourself, mentally and physically is important. If that involves making space for yourself and taking time to rest and recuperate away from people, do it!


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because my grandma mentioned it to me. I work with service dogs and the pet program caught my attention because it would allow me to continue to work with service dogs.

Q: What was the transition like coming from Oklahoma to Mid-Missouri? A: I found out I have arthritis and degenerative disc disease. On April 12, 2016, I had a spinal fusion. Consequently, I missed the last month and a half of my high school career. A month before coming to Stephens was when I was done using a walker and fully recovered. Q: Tell me about your crochet business. A: It’s called La Vie Designs, meaning “The Life” in French. It stemmed from my

sister Autumn because she loved France. The summer after she died, I went to France on a school trip and spread her ashes there, something I felt lucky to do.

Q: What do you typically crochet? A: I crochet anything. My most requested items are crop tops, beanies and infinity

scarves. I’m making things that Urban Outfitters sells for $70, [and selling them] for $20. I feel like I would be cheating people if my prices were any higher. I know I could possibly sell them for more, but I also know we’re broke college students.

Q: Do you use the profits from La Vie Designs to support yourself ? A: I’m here on my own. I pay my tuition on my own and have no financial support from my parents. Sometimes, my siblings may send $20 to help, but other than that, it’s all me.

Q: What are your thoughts about the Stephens community? A: We’re supposed to be this great community of intellectuals who are passionate

about their community, but when it all comes down to it, there’s a lack of support when an issue doesn’t directly reflect or align with that person. If you say you’re an activist, you can’t be an activist in one place. You have to be an activist for the betterment of all of society, not just a portion.

Q: What can Stephens do to facilitate change and make the community more aware of social injustices?

A: I think making events, like the town hall, mandatory for everyone would help. We have to focus on educating people, whether they want to be or not.

Q: What are four words you would use to describe yourself ? A: Strong, brave, human and imperfect. Q: If you could tell the Stephens community one thing, what would it be? A: If I can open my eyes to all these things, given my background, then other

people can too. I hope they do, because if not, how can you be a fully functioning and contributing member of society if you’re not for the people and the good of everyone?


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Brown Q: What has been your proudest Stephens moment? A: This summer when I got to do a mini collection

for Qristyl Frazier. She is a Stephens alumna. I auditioned to be one of the models in her show and I gave her my modeling resume as well as a portfolio. I told her, “I go Stephens, I go to your alma mater”. She was really excited. She said as a fellow Susie, would you like to put in a mini collection, I said, “Of course!” It was one of my proudest moments that I’ve had so far being a Stephens woman.

Q: How do you maintain your positive, professional and friendly attitude when your plate is so full?

A: I’m just me. I’m a motherly and loving person. I

try to always remember to respect others because I want them to respect me. I treat others the way I want to be treated. Because I never want to offend someone or intentionally do something to upset someone, so I would prefer people have the same regard for me.

Q: Would you attribute anything in your upbringing to the way you are today?

A: I was raised up with a Christian based faith. I am

a southern bell in a sense. So, I do kind of have this motherly southern feel about myself. When people come visit me in my room I always automatically ask them if they want to rest their coat. I ask them if they want something to eat, drink or anything. I try to be extremely hospitable. Being raised up with the type of family background that I have, it really has played a big part in my life and just the type of personality that I have.

Q: What attracted you to fashion design in the plus size industry?

A:

I was in fifth grade. I had just transferred from a predominantly black school to a predominately white school. I had a very curvy body. I was teased and bullied a lot for it. That honestly pushed me to decide this is what I want to do. Instead of letting those negative views and comments put me down, I decided to turn it into something positive. As a fifth-grader, I could fit women’s size clothing but I still had to stay looking like a kid. I started drawing and stretching clothing I wished I could wear. That really helped push me. It helped me know that this was something I really wanted to do. I told my grandmother and she taught me how to sew. Her mother also wanted to be a fashion designer and I feel like that spirit is in me. I feel like a part of me is doing this for her.

Q: What is the motivation behind the

B.E.A.U.T.I.F.U.L. organization?

A: Beautiful stands for Bold, Educated, Audacious,

Unique, Talented, Intuitive, Feminine, Uplifting and Loyal. To me, B.E.A.U.T.I.F.U.L. is an amazing organization for young minority women on this campus. We are about personal development and we want to uplift minorities on campus. We want to help them know they do have a voice and help them learn how to use it in the appropriate matters.


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Minority Organization (GSMO), can you describe that.

A: I’m the secretary and I helped found the group.

Stephens has a huge LGBTQ+ community but that doesn’t necessarily mean they have the resources they need, such as a center. A center that is safe, where you’re not going to be seen going in and out of it. A place where you can learn and get things like sexual education materials that are asexually inclusive or romantically inclusive, how to get hormones if you need them, how to change your name and deal with the fact Stephens doesn’t have a preferred name policy.

Q: Describe the hormone therapy process. A: It’s hard to get on hormone therapy for a lot of

people. I go through Planned Parenthood, which uses an informed consent model. If you go through a hospital, you may be expected to go through an endocrinologist. Other places make you live in your preferred gender for a year before you start hormones, which is awful since it’s not always safe for everyone to be out and transition openly. It’s an expensive process. I had to wait for a cost effective program, because most insurance companies do not cover physical transition since it’s considered cosmetic.

Q: Is it difficult to be the organization’s first person to

Q: Do you ever question or experience moments of doubt

A: It’s somewhat annoying, but doctors almost always

A: Hell yeah! My doubts and concerns are more

medically transition?

have to hear about transgender health from their patients, either because they didn’t think to learn about it or they refuse to learn about it. Trans people have been figuring out their levels and dosages for themselves for ages now. Hormones are so expensive and difficult to get a hold of, people have been purchasing them illegally or from unsafe sources and then figuring out the dosages themselves.

Q: What led to your decision to transition? A: It depends on how you define transition. Transition

is different for each individual. My decision to medically transition was at a different point than my decision to socially transition. I got to Stephens and was surrounded by so much femininity that I didn’t slot into, really. I’ve always been the tomboy archetype. Then I branched out, and went to LGBTQ+ groups because I identify as queer. In doing so, I met so many different trans people and read things about other trans people and realized it described me. The turning point was a theater makeup class I took, second semester of freshman year. Being forced to stare in the mirror everyday and apply all this feminine makeup everyday broke me. I realized what was happening and came out that summer. Once I figured out I was transgender, I went to Mimi Hedges, my advisor, and told her I thought I was a boy and asked for her help. She told me it was a great first step and to find a therapist, then come talk to her when I need her.

related to your medical transitioning?

from wondering if I should come out to someone. Are these the pronouns I am comfortable using? Everybody has doubts. Things cross your mind; this is a big step. That said, there’s definitely a myth to dispel about transgender regret. The studies I have read suggest the amount of trans people who regret medically transitioning is extremely small. So many people just assume, especially cisgender people, there’s a feeling of regret. Often times it’s used as a scare tactic to keep people from transitioning.

Q: Do you believe Stephens, as a whole, is genuinely accepting of transgender students?

A: I think it tries awful hard to be [but] the

administration tires. As for students, it depends on the student, it depends on the circles you run in. There are professors, or even student leaders who will say things like 'Okay, come on ladies,' or when I know for sure some of these people don’t identify as that, or even the binary. The culture here at least seems to know that it should be accepting and it’s working towards that. The things we should have — like safe space training and faculty sensitivity training — for all things not just gender issues is ridiculously lower than it should be. Stephens tries and is a lot further along than most places.


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Daniels Q: What was the drive behind your volunteer trip in India this summer? A: I always wanted to help people. My sister went to Africa to volunteer and that

made it feel like my dream can become reality. I chose India because I always wanted to go. It’s such an intriguing country. I didn’t want to go somewhere that was westernized. India definitely was not. One of my classes freshman year was international cinema. Of course, it [India] was nothing like Bollywood, but that was my favorite subject in that class. I just find researching India interesting.

Q: What was your experience like at the orphanage? A:

There was one girl there who had been there since the day she was born, and we celebrated her 12th birthday together. My favorite kid was named Colty and I named my dog after him. He got there two days before I did. He was so funny, oh my gosh, the sassiest kid I have ever met in my life.

Q: Have you noticed anything different about yourself since returning? A: I am probably less rushed now. There’s no such thing as a day off here, but taking

a break and knowing everything will be okay. I just try to focus on my friends and my dog. Just taking it slower.

Q: You’ve started volunteering at the humane society. Where did your passion to help animals come from?

A: Since coming to Stephens, I became passionate about animals. Being on campus and seeing all the dogs and our second chance program.

Q: What do you do at the humane society?

A: I take the dogs on walks and make sure they are not just living in their rooms. I take them out of their everyday environment, so they don’t go crazy.

Q: Are there skills you’ve developed at Stephens to help the Humane Society? A: Eventually I want to take things I’ve learned in Dr. John’s classes and reconstruct [the Humane Society] webpages and design.

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What has been your proudest Stephens moment?

A: The connection that I have with how Stephens is a small community. It’s so great. You can say hello to anyone and they’ll smile back at you. Just feeling like I’m home.


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Jonen Q: Why did you leave Stephens? A: I left because I started questioning my gender

identity So, I was like I need to figure that out. I’m at women’s school, and I didn’t know what was going on. So I took a year off of school to figure myself out.

Q: What brought you back to Stephens? A: I was accepted here. I still knew people here and

I just remember it being a comfortable place, and honestly, it’s like home. I was trying to figure out where to transfer to and I didn’t know if I wanted to because I’m gender queer and I’m not a woman, and it’s a women’s college. I’m friends with Diane on Facebook, and I messaged her and asked her what her opinion was on that and she said “If you’re still physically and legally female, you are still accepted. We still want you.” I was like yes, I am, cool. Then I spoke to some friends and asked their opinions and they said “Yes, we want you back.” I made the decision to reapply after that and decided I wanted to do Creative Writing. I just find it to be a welcoming place especially compared to Indiana. Stephens is amazing.

Q: How do you feel about people who may say “If you don’t identify as a woman, you shouldn’t be at Stephens?”

A: Yes, I agree, but no I don’t agree. I think it depends

on the intent. If people are saying it because they don’t want people like me to be here, then I have a problem with it. If people are saying it because they don’t want things to be centered around women, at a women’s college, then I don’t get it. Stephens is a women’s college. I can’t speak for everyone, but I realize it is a women’s college first. I get some dysphoria at times when I hear “All women, all girls, or ladies,” but I chose to go to a women’s college so I know it’s going to be centered around women, and I’m okay with that. I was raised as a woman. I thought I was a woman for 19 years of my life. I understand that’s what's going to happen here, and as long as it's inclusive of minority women, I’m good. I’m okay with it.

Q: Stephens advertises itself as a diverse and inclusive

campus. Do you think that is an accurate portrayal, if so, how? If not, what can be done to change that?

A: I think in theory it’s totally true. In the way it’s

exhibited and in the way it’s actually happening, it’s not as true as it should be. I don’t think there’s much standing in the way, if anything. They just need to be more proactive. We’re far too predominantly white and with all the people between St. Louis and Kansas City, you would think there would be more people of color. I feel like there isn’t enough education among the faculty in relation to anything other than white straight cis communities. For instance, on the first day of one my classes, I told my professor my pronouns [they, their, them] and they responded with “I may have an issue with that, but I’ll keep trying. It isn’t grammatically correct,” but it actually is. The they singular pronoun is correct. Its been used for so long, which is why The Human Experience and Sigma Tau Delta posted quotes using the they singular pronoun correctly to educate the community. I think Stephens needs to reach out more to any person of a minority or any group of minority. They need to first educate themselves, then reach out to people. They did it in the wrong order. They reached out, but they haven’t reached the education point yet. Students come and don’t think Stephens is a diverse place because the education isn’t there. You must educate yourself before you can label yourself as a diverse place. I’d love to have some type of panel discussion, “LGBTQ 101” or “Trans 101” with faculty, because most faculty don’t come to those type of events.

Q: How do you feel when people use the wrong pronouns? A: It makes me uncomfortable, but as long as people

are trying, I appreciate it. People don’t realize, even if they mess up the pronoun and apologize, it’s still uncomfortable. Someone may respond with “Oh no, it’s okay,” but it’s not okay, it’s understandable. Most people, me included, get uncomfortable and dysphoric when we’re misgendered. To say “It’s okay,” translates as it’s okay I misgendered you and I don’t care that much. That’s why I’m trying to change my language to, it’s understandable.


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‘‘ I think, in our heart of hearts, we all really want to see a ghost, to believe that there is a universe of our long gone loved ones present around us at all times. ‘‘

- Stephens College President Dianne Lynch

Story by Anna Tripolitis Photography by Julie Valentine


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s you walk down the old, dark halls of Senior Hall, floorboards creak with every footstep. You can’t help but wonder if those are your footsteps or the footsteps of some unknown apparition accompanying you. You start walking slower, carefully placing one foot in front of the other. The faint creaks get a little bit louder and don’t match up with your footsteps. You look around and there doesn’t seem to be anyone around you. The seemingly empty halls begin to feel colder and goosebumps suddenly cover your entire body. A door closes, adrenaline rushes through your body and you feel like you are not alone. You quickly check all around you. Nothing. It’s late at night and you don’t see anyone around, but the creaking noises persist, getting louder as the night wears on. A loud crash punctuates your increasing anxiety, followed by a dull silence. It’s over. You leave Senior Hall and try to convince yourself that it’s not real, some trick your nervous mind played on you, but a part of you knows that you’ve been haunted. “It is a longstanding and much-repeated part of Stephens College lore that our campus is haunted — in fact, among the most haunted places in this part of the country. There are lots of stories of faculty, staff and students who say they have seen, heard or felt the presence of ghosts, usually in Searcy, Roblee or Senior Hall,” said President Dianne Lynch. As the oldest building on campus, Senior Hall has been an iconic part of Stephens College since before the civil war. A number of students have reported a sense that they are being watched by some ethereal apparition within the building’s eerie halls. Several tales retell tragic events that have devastated the premises. The most notorious legend follows the doomed love affair of star crossed lovers from the Civil War. The tale begins as a young Stephens student, Sarah June Wheeler, hid a confederate soldier after he had been injured in battle. Sarah June tended to the soldier, keeping him locked away in her chambers in Senior Hall. The two soon fell in love and planned to escape Columbia. Although the exact details remain a mystery, it is clear that the story ended tragically. Some say the two made it to the Missouri River, but drowned on their journey. Others say that the soldier was found by the Union army and put to death, leaving Sarah June so heartbroken that she hung herself from a tree outside Senior Hall, unable to carry on without the company of her beloved. Although the truth behind this legend is shrouded in mystery, the students' belief keeps the spirits alive. The next time you are out after midnight, muster up the courage to pay a visit to Sarah and her soldier in Senior Hall. You might be in for a spine chilling surprise.


Clothing: Absolute Vintage + Maude V


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Issue Credits Opening Poem Cailyn Santee The New Edge Story: Katelyn Bartels Photography: Taylor Barber Design: Taylor Barber, Alexandra Martin Assistant: Suhey Campos Optical Illusions Story: Kalynn Coy Photography: Julie Valentine Styling: Madelyne Allen Hair + Makeup: Jessica Russell Design: Kalynn Coy Assistants: Alexandra Martin, Bella Lightner, Brooke Richardson Model: Morgan Walker Red Alarm Story: Elissa Fochtman Photography: Alexanderia Rinehart Design: Madelyne Allen, Jennifer Zink Model: Alex Phifer The Famed + The Fractured Story: Mary Kate Hafner Photography: Julie Valentine Styling: Madelyne Allen, Mary Kate Hafner Design: Julie Valentine Model: Spencer Westphalen Pretty in Ink Photography: Alexandra Martin Assistant Photography: Julie Valentine Styling: Madelyne Allen, Jessica Russell, Monica Nakamatsu Hair + Makeup: Jessica Russell Design: Alexandra Martin Assistants: Jennifer Zink, Lauren Carlson Model: Emma Lambi Special Thanks to Iron Tiger Tattoo Statistics source: www.pewresearchcenter.org Tiger Hotel Ad Allison I. Moorman, Caitlyn Gardner Microagressions Story: Azizah Badwan Illustrations: Monica Nakamatsu Design: Monica Nakamatsu Eat. Copy: Mary Kate Hafner Recipies: Madisson Alexander Photography: Madisson Alexander, Alexandra Martin Design: Madisson Alexander Special Thanks to Nourish CafĂŠ + Market

Faces Lead Copy: Mary Kate Hafner Audrey Lockwood, Lenora Brown, Morgan Daniels Interviews: Mary Kate Hafner MJ Jonen, Alexander Stanley, Katy Rigsbee Interviews: Azizah Badwan Gigi Krebich Interview: Anna Tripolitis Photography: Alexandra Martin, Alexanderia Rinehart Styling: Taylor Barber Design: Madisson Alexander, Lauren Carlson, Alexandra Martin, Mary Kate Hafner In Good Company Story: Anna Tripolitis Photography: Julie Valentine Assistant Photography: Madisson Alexander Styling: Madelyne Allen, Jessica Russell, Tiffany Schmidt Hair + Makeup: Jessica Russell Design: Julie Valentine, Jennifer Zink Assistants: Katelyn Bartels, Alexandra Martin Models: Emma Wicks, Hallyn Hatfield, Paitra Babb, Miranda Burke, Sawyer Quinlan Raise Your Hand If... Story + Design: Allison I. Moorman Staff Photos Photography: Madisson Alexander Design: Madisson Alexander, Caitlyn Gardner


Kalynn Coy

Madelyne Allen

Alexandra Martin

Caitlyn Gardner

Julie Valentine

Alexanderia Rinehart

Azizah Badwan

Mary Kate Hafner

Suhey Campos

Lauren Carlson

Allison I. Moorman

Tiffany Schmidt

Monica Nakamastu

Katelyn Bartels

Taylor Barber

Anna Tripolitis

Samantha Spears

Brooke Richardson

Kirby Smith

Madisson Alexander

Jessica Russell

Jennifer Zink


By: Allison I. Moorman You have to study, but when the clock strikes 8:02 you say, “Oh, better wait until 9.” You are over the social media pressure to have THE BEST TIME EVER on vacation. You get all dressed up for a boozy brunch and judge the people who come wearing sweatpants. Or...… You show up in sweatpants to a boozy brunch — you need to recuperate, not walk a runway.

You are kinda over the polaroid craze, especially when people take them everywhere — why spend two dollars of film to capture a moment at Taco Bell? The only thrill you’ve gotten on a Friday night is speeding to Sonic five minutes before it closes. You plan for your next meal at your current one. You are still using the, “I didn’t get it, could you re-send it,” excuse for texts and emails. You’ve been significantly out dressed by a ten-year-old. You low key think the only good part of the Twilight franchise was the soundtracks.


Kairos [‘kÄŤräs ] ( n.) An ancient Greek term referring to the fleeting rightness of time and place for action , words or movement ; a time when conditions are right for the accomplishment of a crucial action ; the opportune , decisive and essential moment.

Stephens Life Fall 2016