Strike Magazine UGA Issue 02

ISSUE 02

athens

Editor-in-Chief CO-FOUNDER

Nahdia Johnson

Layout Director Nastasia Rozenberg

CREATIVE

Assistants Sydney Burton Jomarie Cortese Emma Fender Riley Keuroglian Sarah Orji

Creative Director Kaitlyn Rutledge

Creative Director Assistant Sunny Hakemy CONTENT DIRECTORS Tara Anastasoff Sarah Kate Hatley Elizabeth Nitz Madison Taylor

ASSISTANTS Lindsay Bolinger Blake Campbell Melina de Groot Trinity Gates Kristen Haupt Eli Huszagh Abigail Mapel Antonia Mason Jocelyn Peña Taniya Pierce Victoria Schneider Kiana Shamsbafi Chiamaka Uwagerikpe

Graphic Art Director Beauty Director Ashlyn Daughenbaugh

Assistants Gabby Abreau Natalie Bacome Alexandra Catalano Carly Judenberg Elizabeth Kish

Hair Stylist Leah Nickerson

Social Media Director Kaitlyn McCann

Assistants Defne Bozbey Madison Byrd Nykia Cook Carson Hart Ava Zegers

Casting Director Andrea Caceres

Assistants Ava Heltebran Acs Scott

Elizabeth Swank

Assistants Sydney Burton Natalie Gillis Sarah Orji

PRODUCTION DIRECTOR Stephanie Lopez

PHOTOGRAPHERS Tara Anastasoff Natalie Gillis Ashley Moore Jocelyn Peña

VIDEOGRAPHERS Emma Fender Isis Mayfield Amal Supariwala

Styling Director Harper Brand

Assistants Sophie Baker Camille Campbell Courtney Devilla Rachel Egan Kayli McDaniel Skylar Perez Issy Regas

Brand Directors Randi Cass Morgan Jones

Assistants Ellina Berman Mia Bonfiglio Shealan Malone Kaitlyn McCann

Writing Director Claudia Butler

Copy Editors Caitlin Downing Rachel Lakso Jordan Ross

Writers Nimra Ahmad Natalie Bacome Rachel Lakso Eloise McNair Sara Micale Isabella Patel Morgan Quinn Gianna Rodriguez Olivia Wakim Shelby Wingate Haley Wolf

Finance Directors

Merchandise Design Director Alice James

Assistants Karli Keilitz Mary Renfroe Elizabeth Swank

Merchandise Sales Director Susan Ellis

Assistants Willow Foster Anna Warnke Shelton White

Kara Phillips Sophia Vallecillo

PR Director

Marketing Director

Assistants

Jackie Nemanich

assistants Jenna Cahill Victoria Gospodinov Mahek Kothia Sydney Lumapas Leah Nickerson Peyton Pose Gracie Skinner

Tara Torossian Emily Alexander Rebecca Boulware Jenna Shields Sammy Wagner

External Director Sarah Harden

External Director Assistant Morgan Jones

EXTERNAL

When I sat down to first think about Issue 02, I instantly fell in love with the thought of walking into our second season together in Athens, Georgia. With a growing Strike family and evolving perspectives within our Issue 02 staff, I was thrilled. Truthfully, I was a bit anxious about encompassing all diversifying elements within our staff and community in this Fall 2021 issue. This past summer, I sat down with Creative Director, Kaitlyn Rutledge, and I told her I wanted this year’s issue to be elevated.

More importantly, this issue had to speak to our generation in the most authentic way, granting us a unique voice. We brainstormed the many directions we could take Strike Magazine Athens at our 7 AM meetings. We not only wanted to hit on interesting, thought-provoking topics but also those that may educate others.

Our generation is recognized for speaking out on social issues unlike those before us. As a collective, we are not afraid to defend marginalized groups, specifically in cases dealing with underrepresented communities in America. Similarly, our generation’s outspokenness translates to the realm of fashion. Upon viewing Creative Director Assistant Sunny Hakemy’s mood board “Vandal,” we knew we found our vessel to embody, create and deliver the sentiments of Gen Z. “Vandal” was exactly the word to describe what we wanted to illustrate this sophomore issue. Vandal embodies what

Strike is all about: the misunderstood, the groundbreakers, the risk-takers of the world.

I never imagined I would one day step into a role such as Editor-InChief. In assuming this role, I wanted a community that felt like a family at the University of Georgia, but I was unsure how that would manifest itself in my life. Now, after my first semester and Issue 01 in the magical world of Strike Magazine, I know this publication and its people are my home, my family. I have grown attached to this brand and community that my Co-Founder, Serenity Moore, and I created. This space has led me to believe that there was no ceiling for Strike Magazine Athens. As you will see in reading this issue, I believe we showed just that.

Assuming my role within a nonprofit LLC allowed me to experience the power within each one of our staff members. Their creative spirits and professionalism elevated Strike in ways I could have never imagined. This year, our staff brought their very best. They continuously went above and beyond in their roles, which is why I believe this chapter of Strike has experienced so much success on both the external and creative teams., Beyond that, we share a bond that cannot be broken.

To the best Strike family I could hope for, thank you for showing your passion and devotion for this organization. In every step we took to build this community on campus, I have felt your love and support, and I genuinely would not be able to do this without each one of you. Thank you for making Athens more than just a college town. Thank you for making this place home. All my love to you and Issue 02.

Strike Out,

Harden

As creatives, we want nothing more but to impact others through the expression of ourselves. To impact, touch souls, move emotions-- that is the goal.

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When we began planning Issue 02, we knew one thing from the start: we wanted this issue to be different. It is in the nature of Strike to celebrate differences, but we were ready to elevate. How does our generation go against the grain of normalcy in society?

The word “vandal” is defined as, “a person who deliberately destroys or damages.” This is typically a word with a negative connotation. However, stripped back, we find inspiration in vandal. It is wearing what you want, deconstructing unfair societal norms, creating art, standing up for your beliefs.

I would like to thank Sunny Hakemy for fabricating the original idea of our “vandal,” of which we connote positively. We have watched it blossom into this issue that is nothing short of a masterpiece in my eyes.

And now we leave the spirit of VANDAL with you. Vandalize your world, society, and life; leave them more beautiful than you found them. This is the period of self-expression.

Edi

tor-in-Chief & C

o u n d e r: Nahdia Joh nson o-F

XO, Kaitlyn Rutledge

BRANDALISM

6

EVOLUTION OF THE T-SHIRT

16

THROUGH THE EYES OF THE MISINTERPRETED

18

HOMAGE TO THE GREATS

40

HOMETOWN VANDALS

42

GEN Z x CHUTES AND LADDERS

50

18 MILLION CRACKS

52

BELONGING TO THE BIBLE BELT

60

EGO DEATH

62

THEY THINK I DID IT

76

SMILE, YOU'RE ON CAMERA

78

LETTER TO PLUS SIZE FASHION

86

BULLETS IN MY PRADA BAG

88

THE BLUEPRINT

96

PROPAGANDA ADS

98

Content Director: Sarah Kate Hatley Content Assistants: Kiana Shamsbafi, Trinity Gates, Jocelyn Peña, Blake Campbell Styling: Kayli McDaniel, Camille Campbell Beauty: Carly Judenberg, Natalie Bacome Photography: Tara Anastasoff, Natalie Gillis Videography: Isis Mayfield Writing: Gianna Rodriguez, Eloise McNair Layout: Sydney Burton, Nastasia Rozenberg

Our lives are consumed by advertising.

The average American sees between 1,000 and 4,000 ads in one day alone. It is the largest form of communication with consumers that corporations, companies, and brands can utilize. Advertisements show people what they should buy and why they should buy it. It introduces consumers to new products, ones that they had never even thought of or could have imagined before. The mass consumption of advertisements has affected society since the beginning of advertising in print, back to the early 19th century, but today’s ads are seen throughout a multitude of different media platforms. In addition to that, companies can now reach a wider consumer base, and target key demographics thanks to ever-evolving ad technology. Commercialized consumption is widespread and so diverse in our society that it almost blurs the line between life and advertising.

Advertising through social media allows ads to be more specific to an individual consumers interests, and the ease of social media advertising allows consumers to be more knowledgeable of products, but with such frequent display it can become harmful; hence the good, the bad, and the ugly:

There can be beauty in advertisements; the advertising industry can evoke the consumers’ emotions, inspire creativity, and tell stories. It’s a good feeling to have purchased something with value from a company that shares similar beliefs as you.

Advertisements are a big reason why consumers get so attached.

According to Yotpo, 84% of consumers stand by brands that align with their own values. People want to buy what speaks to them and their morals, and feeling sentimental toward an object is merely human nature. Advertisements that target human emotion well can be entertaining and even inspiring.

It’s no surprise that so many Americans tune in to watch Super Bowl Sunday every year not only for the game, but also for the increasingly creative and funny advertisements used to garner consumer attention. According to Forbes, the average price for

a thirty second ad in the Super Bowl in 2021 was worth $5.5 million. There is something about well-thought out advertisements that can really bring people together. In addition to being an effective way for companies to reach their audiences, advertisements have become more like an art form in doing so. Marketing comes in styles of animation and interactives. According to digital research site ComboApp, interactive ads increase awareness in the brand so the viewers can learn more about the product in a shorter amount of time. Advertising that is getting more creative, entertaining, and tailored to consumer interests can be a great thing, but it is not without its downsides.

Advertisements from companies can come in almost any form these days, including from people on social media. Due to the increasing popularity of social media, ordinary people can also become famous and influential. Celebrities are no longer actresses and singers, but they are vloggers and “content creators.” A lot of these new kinds of internet celebrities’ content revolves around their lifestyle, their clothes, and of course, their favorite brands. Consumers are surrounded by their favorite influencers who now act as walking advertisements. These social media stars are idolized by their followers, so when their fans see their Instagram feeds full of sponsors and discount links, they often feel like by purchasing those products, they can be more like their idols and favorite celebrities.

Advertisements, especially using celebrities to advertise, makes people feel like buying the products will make their problems go away, or fix something that they don’t like about themself. Many people check their social media several times a day, which exposes them to even more advertisements than they already see in their everyday lives. Even tagging a brand in an instagram post can earn an influencer money. We see this sponsorship through some of the most famous influencers, such as Kim Kardashian West and the D’amelio family from TikTok. As Forbes puts it, “when influence is corrupt and based on lies, it does not work.” Unfortunately, marketing through influencers not only affects consumer behavior, but it also leads to overproduction.

When influencers, specifically youtubers, often post “unboxing” videos of complimentary PR packages that they receive. It is easy for viewers to wish they could get all that product for free, especially when these individuals are paid to gush over the products they receive, regardless of whether or not they actually like them. What viewers do not think about is the amount of excess product that is sent to the one individual, when it could instead be sent to those that can not afford even the most basic of necessities. The viewer should be questioning what their favorite youtuber will do with 12 shades of foundation that do not match their complexion. It makes sense that the company sends the influencers a range of their product to show their range of viewers, but companies should do better and consider a rightful home for the excess products.

Excessive advertising coming from some of the most influential people in the world also has a harmful effect on society. It promotes sameness and often leads to the over-purchasing of certain products and brands, because people always want what they see the rich and famous people have. In a way, it makes us feel like we need to buy these celebrity-promoted products if we want to fit in. Influencers should not be making their followers feel like they need to have specific (and usually expensive) products to be cool. The pressure of advertising has made the culture of consuming far more toxic.

Social media has changed the way consumers follow trends, and it has become easier for feelings of jealousy to enter when viewing someone else’s life on Instagram, because anyone is able to post exactly what they want followers to see. It’s harmful to the public when constantly trying to achieve these “perfect” lives that don’t exist. It is easy for people to forget that these social media star’s lives are perfectly curated to achieve a look. People rarely post about the bad or imperfect things in their lives, they want to seem like they have it all together! It is easier for ads to appeal to consumers in social media because they can make more realistic, personalized posts that they can relate to.

“The more pronounced the product placement, the more it is considered too ‘commercial’ by the followers of that social media influencer and the less effective it is likely to be,” according to Medium. Brands these days want their influencer-based advertising to be as subtle as possible, so they can make it seem like an authentic account of how people really feel about their products. Consumers and social media users need to be more aware that companies purposely appeal to emotion in product placement to lure purchases.

Humans feel instant gratification when they make an online purchase, but the feeling dissipates when they realize the product is most times not as spectacular as the advertisements portrayed it as. This instant gratification leads to a much bigger issue: overconsumption and waste. The environment has been a hot topic since our generation learned about our planet’s sad fate as climate change continues, but no one thinks about how much clothing and product waste contributes to carbon emissions. According to the World Bank, about 87% of the fiber input used in clothing is disposed of in landfills, making it responsible for 10% of annual carbon emissions. Companies are not going to stop pushing for unnecessary purchases, so we need to be more conscious of what we are buying and why, or the environment will continue to suffer from our faults.

While environmental issues are one of the biggest threats to all industries right now, the advertising industry has several other issues that are a threat to humanity. In regards to advertising, larger companies are able to easily target individual consumers using ad tracking and sometimes even eye tracking technology. Not only is this invasive but it allows the customer to be easily exploited, and increases consumerism. After seeing the same ad multiple times on different social media platforms, people are more likely to buy a product. Ad tracking softwares are relatively new, and there is so much that we do not know about them.

We have no idea how companies might be exploiting our personal information.

Advertisements have been a part of consumerism for over two centuries now and it is not going away any time in the future. As advertising evolves into more personalized styles of inspiration and creativity, it becomes more dangerous in the way that consumers buy without truly needing or wanting the product. Consumers need to become more wary of whether or not their favorite influencers actually believe in the brand they are promoting, or if it’s just for the paycheck. Humans are far too overstimulated by these constant advertisements, and we learn to trust too easily, but research beyond the wellplaced ad can prevent overconsumption and result in more self-expression.

THE

The t-shirt is arguably one of the most popular and versatile pieces in fashion. They come in multiple styles, colors, and sizes ultimately meant to include multiple aesthetics.

Originally used as undergarments for laborers, the t-shirt has grown into an all-inclusive clothing staple. It’s wide variety of styles, colors, patterns, and designs allow multiple people to express themselves. This self-expression led to the t-shirt’s popularization; more and more people saw the t-shirt’s versatility. High fashion designers noticed the influence of this staple and instantly welcomed its versatility in the fashion industry.

The classic white cotton crewneck originated from union suits in the early 20th century.

Working class men wanted pieces that were easily removable, and, as a result, they forgot about their one-piece union suit. Instead, they used this short-piece replacement. They were also adopted by the military in World War II. During the war, some servicemen saw the shirts as undergarments, but other men became more comfortable wearing them as regular shirts.

To the majority of Americans, wearing the t-shirt as an outer-garment top was almost the modern equivalent of wearing underwear in public. The breakthrough of this garment occurred during the 1950s. Actor Marlon Brando wore the classic top in a Streetcar Named Desire, creating national buzz. Around the same time, actor James Dean wore the style in Rebel Without a Cause, becoming a strong symbol of nonconformity.

After the endorsements of Brando and Dean, people quickly flocked to t-shirts as they wanted to also represent this idea of rebellion.

During this popularization period, several companies began experimenting with garment decoration such as different designs and colors. In the 1960s, plastisol was invented, allowing businesses to add color to t-shirts.

With this innovation, Disney became one of the first companies to mass produce graphic t-shirts.

1960s counterculture movements also took note, recognizing they could use the same technique to print designs that represent their ideals.

Writing: Shelby Wingate Layout: Sydney Burton

Crop tops originated from belly dancers, but they were accepted

by Western fashion in the 1940s. Many Americans saw the crop top as revealing due to the exposed skin. However, despite those who looked at crop tops with dismay, many younger adults wear open to the garment, styling it with high waist bottoms or as beachwear. The rise of subculture saw a more innovative approach to the crop top. The hipster movement revolutionized the cropped t-shirt with elements that matched their subculture such as fringe, earthy tones, and floral patterns.

Printed t-shirts were introduced along the same time as graphic t-shirts. The creation of plastisol, a plastic based ink, allowed multiple people to individualize their t-shirts. A main part of this creative was printed words and phrases. Specific subcultures had their own slogans and words and added them to t-shirts.

Some examples would be band t-shirts, t-shirts with political messaging, or t-shirts with company’s logos on them.

Oversized and baggy t-shirts first became popular between the 1990s and the 2000s. Before then, many lowerclass groups, particularly those of Black or Latinx descent wore oversized t-shirts simply because they were more comfortable. Lower-income parents also didn’t have money to purchase new clothes, and as a result, younger children wore hand-me-downs from their older siblings/ relatives. Baggier clothes were also more affordable, as they didn’t require extensive detailing or designing.

THROUGH

EYES

OF THE

Content Director: Tara Anastasoff Content Assistants: Antonia Mason, Chiamaka Uwagerikpe, Abigail Mapel, Kristen Haupt Styling: Sophie Baker, Camille Campbell Beauty: Ashlyn Daughenbaugh, Alexandra Catalano Photography: Ashley Moore Videography: Emma Fender Writing: Nimra Ahmad Layout: Emma Fender, Jomarie Cortese, Sarah Orji

THE

MISI

NTERPRETED

Henry Darger may just be the most mysterious vandal there is, right until the day he died.

Darger lived a reclusive, isolated life and lived out his last days in a nursing home. When his room was cleaned, a shocking discovery was made: over 15,000 handwritten pages of a fantasy novel, accompanied with vivid watercolor paintings. It seemed that the lone wolf was not so alone after all — he had created a fantastical imaginary world that he depicted through words and paintings.

The alternate universe, filled with magical creatures and princesses who would save the world, was not a beautiful world.

Children’s suffering is at the forefront of the story, and graphic descriptions of neglect, sexualization and abuse are prevalent throughout the story. Suspicions of pedophilia later surrounded Darger due to his fascination with and sexualization of children in his writing and illustrations.

His classmates berated him in school for his odd behavior, such as muttering to himself. When he was 12 years old, he was sent to an asylum for children. He was there for several years, but was eventually driven to escape at 16 or 17 years old upon hearing about the death of his father. He was only able to escape and not be caught on his third attempt, after which he went to his godmother’s residence in Chicago.

Darger did not exactly have a happy ending. Upon discovering his stories and illustrations, it was believed that he did not share them with anyone — they were never meant to be seen. It was only after his death that his work was revered, appreciated, and questioned. His story exemplifies the “starving artist” narrative — this idea that one sacrifices one’s own well-being to concentrate on art.

But maybe not. Maybe Darger just lived in a different world than the rest of us, the world that he knew only to express on paper, in which he was the hero.

In the real world, however, there are inclinations that he was not the hero that he dreamed to be. There has been some speculation that he murdered a 19-yearold woman named Elsie Paroubek who was strangled and killed. To this day, the murder remains unsolved. Darger had a newspaper photo of Paroubek and built a shrine to her when she was found dead, which is why some do suspect he had something to do with the crime.

VIVIENNE

WESTWOOD

Vivienne Westwood’s life took a full 180, from growing up in an essentially artless environment to becoming the face of punk fashion.

Westwood said she had never been to an art gallery, seen an art book or been to the theatre growing up.Westwood’s lifehadavery typical trajectoryas a schoolteacher, selling handmade jewelry as a side job. But upon meeting Malcolm McLaren, the manager of the revered punk band the Sex Pistols, everything changed for Westwood, as she left her old life behind to enter a world of mystery and chaos.

Westwood’s career, defined by the idea of counterculturalism, began while working with McLaren. The two opened up a shop together in London when bohemian and hippie aesthetics dominated in the 70s. The store was created amidst a punk movement within the British youth, who rejected the hippie ideals of their predecessors and sought to focus on politics and punk.

Westwood produced items such as zoot suits — suits with loose jackets, highwaisted pants and padded shoulders that were popular in the 1940s — and sole creepers, which were chunky shoes with thick soles. This soon turned into producing apparel with obscene words, such as “PERV” and “ROCK.” Bleached chicken bones were even involved in certain pieces. All of this appealed to the disgruntled, anti-establishment youth. Next would come more of an intense sex appeal, with spandex taking up space in the couple’s shop — and then rubber dresses arose out of hardcore fetishism and the embrace of BDSM culture.

For Westwood, fashion and politics always went hand in hand. During Margaret Thatcher’s tenure as prime minister of the United Kingdom , she showcased her disapproval by impersonating Thatcher on the front cover of a magazine in a suit that Thatcher was meant to wear. Westwood became an outspoken activist for climate change and human rights, oftentimes displaying these messages through clothes. At the 2019 London Fashion Show, she had models walk down in clothing pieces with dramatic statements such as “Politicians are criminals” and “What’s good for the planet is good for the economy.”

When it comes to not only going against norms, but shattering them and making way for something new, scary and intimidating, only Westwood comes to mind as the prime example. She did not create trends — she created entire cultures, and has gotten in trouble with establishments for doing so. But if she had pleased everyone, she would not be a vandal.

THE PICASSO OF MODERN DANCE. DANCER OF THE CENTURY. A NATIONAL TREASURE. The Picasso of modern dance. Dancer of the century. A national treasure. All of these titles and more have been used to refer to the lasting legacy of Martha Graham, a trailblazer who vandalized traditional dance and made her own technique.

Graham didn’t like ballet. In her words, Graham said she did not want her dances to be “beautiful” or “fluid,” the way ballet was. Rather she wanted them to be “fraught with inner meaning, with excitement and surge.” Her movements would be sharp, direct and abrupt — filled with emotion. To her, dancing was about emotion and art and she did not think ballet fulfilled those things — and so she created her own form of dance. Her technique was known as the Graham technique, which concentrated on contracting and releasing muscles to exaggerate natural movements. Her idea of experimenting with basic human movement created a completely unique style, one that is still taught in dance schools today.

Graham was a storyteller. Her choreography would concentrate on stories such as Greek myths where she’d flip the focus from male heroes to powerful women. She also took inspiration from modern paintings and Native American religious ceremonies — it seemed Graham could find inspiration from anything. She played a variety of female heroes herself, such as Joan of Arc and Emily Dickinson.

As with any vandal, Graham dealt with her fair share of criticism.

People appreciated her dancing, but would look for other ways to bring her down. According to a 1947 New Yorker article about Graham, she would oftentimes be seen as “surly, stern, dark, morose, or gloomy.” The author of the story quickly dispelled this image, writing of her angel-like presence and stating that she is in fact the “antithesis” of what people expect from her.

Nothing could really stop Graham, though. Graham was an artist in every sense of the word — from the stories to the choreography down to the costumes that she and her dancers would wear, she would be involved. And she made her impact: she founded modern dance, and her impact will forever reverberate due to her perseverance towards change.

Lil Nas X just might be the epitome of Gen Z. He admits to being an addict to his phone, struggles with anxiety and identifies as queer — truly, this generation couldn’t ask for a more fitting symbol.

And when it comes to challenges, Nas has confronted his fair share. He grew up queer in an unaccepting environment — and especially after releasing his country/ hip-hop hit “Old Town Road,” he didn’t feel that it was in the cards for him to come out, knowing that the country music audience — and perhaps even the hip-hop audience — wouldn’t be accepting of that part of his identity.

And his life before “Old Town Road” was anything but glamorous. He grew up going between his divorced parents’ homes from a young age.

Only a year before the song became a hit, he was crashing with his sister, in the process of dropping out of college and fighting with his parents often. He really was just like any other young adult.

Although Nas is a household name today, when he first came into the mainstream not long ago, he was truly groundbreaking. TIME said it best in a 2019 profile on Nas: “There aren’t many black stars in country music; there aren’t many queer stars in hip-hop. There aren’t many queer black stars in American culture, point-blank.”

For Nas to make his debut in a country and hip-hop crossover was, well, unexpected. It’s groundbreaking in of itself for Nas as a gay Black man to be as big of a star as he is in hip-hop.

He’s vocal in his beliefs — both in his music and on Twitter. Take one of his more recent songs “Montero (Call Me By Your Name)” which blatantly attacks homophobes and riled up major controversy in his display as “queer Black sex object,” according to the Los Angeles Times. Nas fights all kind of racial and homophobic barriers, not just through his existence but in the art he puts out.

And though those barriers are not expected to break down any time soon, Nas is definitely paving the way for those who will follow him in the future.

An anti-establishment street artist who not only worked his way into the commercial art scene, but did it all while remaining anonymous — there is no creator quite like Banksy.

Banksy brought vandalism to life far before Strike Magazine. In a 2003 interview in which he asked to remain anonymous, when answering a question that asked if he was an artist, he more so identified with being a vandal. After all, Banksy is an outlaw first, a revered public figure second.

Like many artists, Banksy started doing graffiti out of a need to. He was expelled from school and went to jail several times for petty crime. “Graffiti, he says, made him feel better about himself, gave him a voice,” the 2003 Guardian interview wrote.

Banksy’s graffiti career involved running from the police, which likely explains his choice to remain anonymous even amidst his world fame.

At 18 years old, he was almost caught while working on graffiti, and while all of his friends were able to escape, he ended up under a truck with engine oil dripping onto him. He realized then and there that he couldn’t simply spray paint — he had to use stencils to work faster, to avoid getting caught. And so his anonymity, especially at the beginning of his career, makes

sense since graffiti and street art is illegal.

His technique became a staple in his hometown Bristol, and the public soon learned to recognize his art style in the 1990s. Starting in the 2000s, his work started appearing throughout the country and, then, eventually around the world.

Banksy’s anonymity allows for him to make all kinds of statements. In 2018, upon one of his pieces being sold at an auction, the artwork then proceeded to partially shred itself per a built-in shredder placed by Banksy. He quoted Picasso on Instagram upon the artwork’s destruction — “The urge to destroy is also a creative urge.” Interestingly enough, the piece was sold for even more in 2021 at $25.4 million, a record sale for Banksy.

Banksy challenges typical artistic notions, arguing that destruction is also a significant part of creation. In a world where art collectors and even artists are all about the protection of their work, this is no small feat.

Whether you love or hate these vandals, their impact on their respective disciplines is undeniable. Even their misinterpretations are instrumental to their impacts and effects on the global art scene — but, still, that doesn’t mean we’ll try to stop interpreting them any time soon.

WRITING: NATALIE BACOME LAYOUT: EMMA FENDER

HOM BIRTH OF RAP

DAPPER

DA N There is a push and pull relationship between high houses and underground culture. High end designers take cues from subcultures. These designers do not ordinarily credit them, and even turn around and try to shut down the original creators. That is a lot to digest, so let us break it down.

Dapper Dan, born Daniel Day, grew up in Harlem, New York. He grew up gambling and in an interview shared advice to “look for a hustle that has a loophole in the law.” At the time that was what he called the “paper game” or gambling. He later found his next loophole in the law: fashion. He invented something fresh that no one had seen before. Dapper Dan emerged with his 125th street shop that began

Modern rap as we know it originated from block parties in the Bronx as a technique used by MC’s who wanted to add some flare to their mixes. The ability to transition from song to song or introducing DJ’s created an opportunity for MC’s to incorporate creative elements such as rhyming in sync with the music. What began as sound to fill radio silence later grew to an expressive art form. as a furs boutique that he grew into a world-famous shop. He would buy luxury hardware from designer handbags and repurpose them onto his pieces. He created custom made-toorder pieces with repurposed designer logos from brands like Louis Vuitton, Gucci and Fendi. This popularized the concept of “logomania”- when logos adorn various unique pieces. Dapper Dan mastered the art of what he called “knock-ups” and rather than copy designer looks, he adopted the logos in creative ways. In an interview with the New York Times, he discussed the connection fashion has with spiritualism and materialism. Growing up, he saw women admire luxury goods like furs and diamonds. He saw the same connection when heavily

branded items became popular. This logo obsession people have is what led him to create one of his most popular pieces, the Louis Vuitton bombers.

Through the years, his designs have been worn by Mike Tyson, Jay-Z, LL Cool J, Beyoncé and countless others.

Once brands like Fendi and Gucci took notice of their logos being used on Dan’s work, he began to receive cease and desist letters but that did not stop his creative talents. Even while his store was shut down, he continued. 25 years after brands wanted to take Dapper Dan’s designs out of existence, Gucci looked to him for inspiration. The Gucci x Dapper Dan collection came out in 2018 and featured 80’s inspired bomber jackets and an ad campaign with a vintage street style aesthetic.

The line between sidewalk and catwalk is blurring more and more. Twenty years ago pieces on the runway were all high fashion. Now, it is not against the norm for a runway to feature designer sneakers.

Gucci, Dior, Prada and a multitude of other designers have created luxury sneakers not only worn by models and celebrities alike but consumers as well.

Supreme is an elevated luxury streetwear brand that emerged in the 90’s that grew significantly through celebrities, including what was dubbed the “kanye effect” by ButterAtl. Rap artists have a profound effect on fashion and are responsible for the growth of the streetwear trend.

SIDEWALK CATWALK

Designers and rappers are continuing to blend. A$AP Rocky is known for his style and in 2016, he became the first black male to be the face of Dior. He was a prominent figure in their FW16 campaign and known for the iconic ad wearing a black blazer with dark circle glasses. In only a few decades, rap culture has had a profound effect on the fashion industry and will continue to be a culture people look to for evolutionary fashion inspiration.

GREATS

MAG E TO THE

Content Director: Madison Taylor Content Assistants: Camille Campbell, Kristen Haupt, Trinity Gates Photography: Stephanie Lopez Writing: Morgan Quinn Layout: Nastasia Rozenberg, Riley Keuroglian

Q:

What

does

the

word

“Vandal”

mean

to

you?

A: It’s going against the grain, being confident in that, not caring too much with respect. I feel like it’s just about— putting into the same connotation as mydoproject “Black Sheep” right— someone who is an Q: Where you find unexpected inspiration? independent thinker. I feel like we’re in a time where everybody is reallyA:sensitive andYeah, if you conversations. have a differenceI ofthink opinion People. theyou’re like an evil person – that’s literally the temperament of our society things that inspire me most are the moments right now. you don’t really prepare for. You might make a song about something in your life and then you go and you play that song in Alabama and someone’s like “I really like that song that you wrote about this because it meant this this and that” and you’re like wow that translated as that to you and that’s great because, you know, the definition of art is communication, and so as an artist you are supposed to communicate things either that people can’t communicate themselves or that they don’t want to or fear, so I find my biggest inspiration just in my communication.

Q: Many young creators struggle with imposter syndrome. Do you struggle and how do you overcome those self-doubts?

A: Yeah for sure, but that’s how you grow. It’s interesting, that’s the first time I’ve actually heard it called that. I think I look at it differently— I’m constantly around people that push me and motivate me because they are better than me or smarter than me in some way, you know, and we can let that intimidate us or it can help us. Ultimately, you shouldn’t be the smartest person in any room, because then you’re not gonna grow— everyone’s just gonna take from you, and that’s cool but it has to be an even exchange.

But, yeah I definitely deal with that and everybody does, it’s totally normal.

Q: What destroys your creativity?

What nurtures your creativity?

A: What destroys my creativity, oddly enough, is consistency. I live, breathe, sleep this. When I leave here, I’m gonna go straight back to the studio and work, you know. And everybody around me does that as well. When you’re in it, and you’re a part of it, you’re so close to it sometimes, it’s like “dang, I just made five songs this week and I feel like none of them are hitting me the way that I felt like they should.” So what destroys my creativity is being so close and so consistent, and what nurtures it is taking a step back from everything. Or, doing what we talked about in the previous question, putting myself in uncomfortable situations and being around people who are better than me at something.

Q:

What

does

the

word

“vandal”

mean

to

you?

A: I think of the graffiti you see around downtown Atlanta, the whole concept of being sneaky and not wanting to get caught. That whole process to create something unexpected, you know, you’ll drive past and suddenly you see something new and you’re like “what? I didn’t realize that was there before, someone created that in a really quiet way!”

Q:In a world of rule-followers, who is your favorite rule-breaker?

A: The whole theme I’m trying to focus on this year is sustainability, making it not only a trend, but relatable to anyone—Greta Thunberg is my favorite. She’s just so badass, taking on the biggest corporations in the world and, in reality, they’re the ones breaking the rules —she’s just calling them out. But it takes a lot of guts to do that.

Q: What destroys your creativity and what nurtures it?

A: I would say pressure and trying to get things done perfectly hinders creativity so much. My teachers always say that the best things come from mistakes, which is so true. When you try to stick to this perfect plan, you end up being not as original as you could be. I work really well under time restraints too.

I whipped out one project in one night right before the due date. Not what I would recommend, but I really suffer from having a perfect idea in my head, and not doing anything because I don’t want to mess with it or ruin it. Then, it ends up being the night before a project is due, and I have to get it done.

Q:

Where

do

you

find

unexpected

inspiration?

A: A big part of my inspiration comes from color, a huge pattern in my work.

I’ve always enjoyed making stuff pop, making your eye wander, so I’ve never really been, I don’t know, boring? Pop culture is a big one, too. Music is also a big part of my work. Also, I think Athens is a big part of my creative process. I grew up in Augusta, so a similar vibe, but now it’s more clear for me to establish what I want to be involved with here, especially being in art school, too, which has a huge impact.

The people around me have different ideas of what art is, so it’s nice to be around a bunch of creative people.

Q: What does the word “vandal” mean to you?

A: Someone who can create their own narrative and stick out among the rest. For me, a big part of the “vandal” idea is being more confident in [sharing my work]. Like, “Hey this is what I’m doing and I really like it,” a come-as-you please kinda thing? If you’re passionate about it, force it down people’s throats, because I’m sure people will listen.

Q: Many young creators struggle with imposter syndrome.

Do you struggle and how do you overcome those self-doubts?

A: Yeah, I’d say I do. In high school, I went to a fine arts school in Augusta, and I didn’t really know what I wanted to do. So with art, I’ve never stepped into that role, that I guess I’m now in, until I got on my own. At school, when I was able to establish myself, that helped me narrate my time here and be able to have my own idea of art. Establishing yourself and just being different to the point where you have your own creativity and style.

It’s no secret that Generation Z, also known as Gen Z, has a strong chokehold on popular culture right now. This generation has the power to break celebrities and brands, and they are not afraid to use it. This generation has rather specific tastes, and tends to favor accessibility for all, social justice, ethical and sustainable practices. Additionally, they are not afraid to boycott brands that don’t align with their beliefs, no matter how historically popular that brand is. This has directly contributed to the rise and fall of certain brands over the past couple of years, and we are going to map out those successes and failures using the design from a game most Gen Z-ers probably played in their youth, Chutes and Ladders.

LADDERS

Louis Vuitton:

Using popular Gen Z icons Emma Chamberlin and Charli D’amelio as the new face of their brand in 2020 was a great move for this iconic luxury fashion house. Those celebrities align with Gen Z’s powerful views, making Louis Vuitton seem more accessible, even if the price range is not any more accessible to most young people than it was before, therefore helping it climb the ranks.

NIKE:

Nike has never really gone out of style, but it does havea lot of competition.

Making Colin Kapernick the face of their brand has really helped propel Nike ahead of competition, especially since the rise in popularity of the Black Lives Matter movement in June 2020. Ladder!

Gucci:

As written by Luxe Digital- “Gucci embraces genderless fashion and a sustainable supply chain, two important values, especially for the coveted younger generations of luxury shoppers. For example, Gucci launched its first sustainable collection Off The Grid and introduced eco-packaging.” That quote says it all, Gucci has become a Gen Z fave! They’re movin’ on up.

Reformation:

Gen Z can’t get enough of this earth-friendly femaleowned clothing brand. You’ll see Reformation all over Tik Tok and Instagram. The brand does a great job of being very transparent about their carbon footprint and their plans to eliminate it on their website (Gen Z LOVES transparency, duh). Reformation keeps up with current trends but also keeps their clothing classic and simple. Perfect for Gen Z, so up they go.

Shein:

For those of you who know a thing or two about this generation, you probably saw this one coming. If you didn’t know, Gen Z HATES fast fashion, and online retailer Shein is the definition of fast fashion. Shein has been linked to unethical labor, unsustainable practices, and stealing designs from smaller creators - making it a definite no-no for this generation. Down the chute they go – along with their reputation!

Victoria’s Secret:

Victoria’s Secret used to be all the rage–but not anymore. Gen Z has worked their influential magic to banish this brand from relevance. In an interview after the 2018 fashion show, Chief Marketing Officer Ed Razek made a statement saying that the brand should not include transgender models because they don’t fit into the VS “fantasy” idea. Victoria’s Secret sales plummeted, even after Razek released an apology. The brand was forced to do a drastic PR change, prioritizing inclusivity, which just shows the power Gen Z has to control the industry. Bye Bye, VS!

Alexander Wang:

Needless to say, Gen Z does not support designers with sexual assault allegations, and they especially do not support utilizing power to silence victims speaking up about allegations. This scandal happened in December of 2020. Wang not taking accountability loses major points with Gen Z, and his brand has suffered as a result. Long Chute for you!

Danielle Bernstein : AKA WeWoreWhat

Danielle Bernstein has been officially canceled by Gen Z, and you can plainly see that by scrolling through any teenage girls tik tok page or reading the comments on her instagram, @WeWoreWhat.

Danielle has been exposed multiple times for blatantly stealing designs from smaller creators, especially POC designers. Gen Z is not down with that, therefore she is canceled for the foreseeable future. Danielle is going down!

WRITING: ELOISE MCNAIR LAYOUT: EMMA FENDER

Content Director: Elizabeth Nitz Content Assistants: Victoria Schneider, Melina de Groot , Taniya Pierce , Jocelyn Peña Styling: Skylar Perez, Issy Regas Beauty: Ashlyn Daughenbaugh, Elizabeth Kish Photography: Stephanie Lopez Videography: Emma Fender Writing: Haley Wolf Layout: Jomarie Cortese, Nastasia Rozenberg

Female Rage The glass ceiling has been the clear barrier between women and equality since the beginning of time. This hypothetical road block has been put in place by the men around us to keep women out of power in all aspects. Back in 2008, Hilary Clinton said in the speech that ended her campaign for the Democratic presidential nomination that “although we weren’t able to shatter that highest, hardest glass ceiling this time, thanks to you, it’s got about 18 million cracks in it, and the light is shining through like never before, filling us all with the hope and the sure knowledge that the path will be a little easier next time.” Especially in the fashion industry, we see this notion that women are in-charge and dominate the industry, and yet it is still men in the majority of these high ranking positions. The meaning behind this shoot was to embody the strength and passion of women throughout time, and to showcase our most powerful emotions that will hopefully, one day, shatter the glass ceiling above us.

Oftentimes, these strong emotions are viewed as unladylike, hostile, or unapproachable when worn on the face of women, but when worn on the face of men, they are viewed as professional, captivating, and influential. This double standard is something that we aim to break down and take back throughout this piece. Women can be strong, angry, passionate, and in-charge all without bringing a negative connotation to them.

MEN TELLING WOMEN WHAT TO WEAR As stated previously, the fashion industry is considered to be one that is dominated by women in most aspects. However, many of the world’s top designers and CEOs are still men. Alexander Wang, Raf Simmons, and Giorgio Armani are some just to name a few. If this industry is really so female dominated, then why are there still so many men trying to tell us how and what we should wear? This has been happening since the beginning of time, and yet somehow we are still getting stuck in this cycle of men dictating our fashion choices. While it may not be as direct or conscious as it once was, there are still many instances of men actively defying women’s rights to control their clothing choices. Just this past summer, “Several female activists [were] fined in France for wearing “burkinis” in a Grenoble swimming pool.”

It may be 2021, but these issues remain prevalent and apparent in the lives of women all over the world.

Dressing for the Male Gaze In conjunction with listening to what men are telling women to wear, dressing for the male gaze has been a recurring sentiment for decades. Whether that’s a school dresscode worrying about young girls “distracting” the boys, or society claiming that women are dressing to attract attention from the opposite sex, this theory has gone on for too long. Especially in recent years, women have been expected to conform to what makes men “comfortable”. Even in instances of sexual assault, a woman’s clothing has suddenly become a plea or desire for grabbing, touching, and other unwanted fondling from men. At the Met Gala and many other high fashion events this year, we have seen an increased number of women showing off their lingerie and underwear as a statement.

“What’s interesting about this trend is that it isn’t just fodder for the male gaze… what you’re seeing now is an individual female choice.”

This is the beginning of a movement, and after too long, it’s time we started changing that narrative. I am not dressing in hopes of you looking at me. I am not wearing this to get attention. I am not looking to go home with you because of the top or jeans I chose to put on.

This notion ends now. I wore this because I wanted to.

Highlighting Women in Fashion

After discussing men for so long, it is time we highlighted the women within the fashion industry who are making strides towards shattering the glass ceiling above us one collection at a time.

Aurora James is just one of the many amazing women in the industry designing to make a difference. She is the creative director and founder of the luxury brand “Brother Vellies” as well as an activist fighting for equality in all aspects. James was tasked with designing a dress for Alexandria Ocasio-Cortez at this year’s Met Gala.

AOC was adorned in a floor length, white ball gown with the words “Tax the Rich” sprawled on the back. In an Instagram post, James said “with access comes great opportunity.

We can never get too comfortable in our seats at the table once they’ve been given.

We must always continue to push ourselves, push our colleagues, push the culture and push this Country forward.” We are looking forward to seeing what else Aurora James and Brother Vellies have in store for the future.

Another amazing woman in fashion is Sonia Syngal. Sonia has been the CEO of GAP since 2020, and she is one of few female CEOs in the Fortune 500.

Syngal led the company through a global pandemic after being named CEO only a few days before the lockdown began.

After everything that happened last year, she is happy to finally be in a place where she can just enjoy her job. In an interview with Stanford Business Syngal said “follow your passion and know that you can change the world. Watching others or helping others do it is not nearly as fun.”

The last of many amazing women that we want to highlight is Miuccia Prada.

Miuccia is the head designer at Prada and the creative director of its subsidiary “Miu Miu”. Miuccia has been in the big leagues of fashion since 1978 she took over the company from her grandfather, Mario Prada. She completely redesigned the company from their original designs to the sleek, nylon heavy ones that we know so well today. Since becoming head designer, Miuccia “has always blazed her own trail and demonstrated a fearlessness in trying new styles.” She is making great strides for women in the industry, especially when it comes to women in such high roles within iconic fashion houses, and I’m curious to see how this continues to impact the ratio of men to women in top design and CEO roles.

BELONGING IN THE BIBLE BELT Imagine from the very beginning you’re doomed, From the outside, normalcy is assumed.

I will never face adversity for the color of my skin, But rather for the beliefs of my kin.

Born and raised in Georgia I’ve always felt: How will I ever belong in the Bible Belt?

I was reciting Hebrew words from when I was two, It’s something in pre-school we were taught to do.

Nobody warned us or put doubt in our mind, That the rest of the world might not be so kind.

How will I ever belong in the Bible Belt?

In 2020 we saw rage throughout nations, Suddenly, everyone was an expert on race relations.

11 dead at the Tree of Life Synagogue and barely a sound, Dare mention your opinion on Israel and they’ll come back around.

Will I ever belong in the Bible Belt?

But you don’t look Jewish!

Do you speak Jewish?

Just take a joke!

Where are your horns?

You’re pretty for a Jew! Are you going to pick up that penny?

It was so long ago!

WRITING: Jordan Ross LAYOUT: Jomarie Cortese

Will I ever belong in the Bible Belt?

I have traveled to nine countries and For every architecturally astounding cathedral that’s been standing for a century, Comes a Jewish graveyard or memorial many will oversee.

There is a recent book in our history titled “People Love Dead Jews,” A series of essays investigating our narrative centered around heartbreaking views.

Will I ever belong outside of the Bible Belt?

As morbid as it sounds, there is a goal, and This notion does not mean we stop honoring those we have lost.

If anything, they deserve more recognition no matter the cost.

To me, it means that we never make the front page for anything but tragedy, Even the neo-nazi’s still roam free.

Will I ever belong in media praise?

This constant battle remains, and The fight between the brushing off of anti-semitic events And the oversaturation of our character with grief presents A unique paradox in which I persist.

Sometimes the most courageous thing one can do is exist.

Without shame, without fear.

Is belonging near?

To fight for those who no longer can is what we must do.

To educate instead of argue.

To practice and express unapologetically, Is what I will remind myself to do repeatedly.

When I belong in the Bible Belt.

Content Director: Madison Taylor Content Assistants: Blake Campbell, Lindsay Bolinger, Abigail Mapel, Eli Huszagh Styling: Courtney Devilla, Rachel Egan Beauty: Elizabeth Kish, Carly Judenberg Photography: Jocelyn Peña Videography: Stephanie Lopez Writing: Claudia Butler Layout: Sydney Burton, Emma Fender, Sarah Orji, Jomarie Cortese, Nastasia Rozenberg

L i m i t e d Hardened Obsessive S e l f i s h Detached I view this part of me in quiet reverence, fearful of awakening its darkness. This part of me, the portion in which I now fear, grows within, unchecked by the surrounding world. In fact, this selfish world, one guided by theories of ownership and self-service, feeds this ego. This world nurtures the ego beyond all control, or so I perceive. Every aspect, every choice until this point, has been guided under this influence.

L i m i t e d Hardened Obsessive S e l f I feel this ego weighing me, trying to succumb to my spirit. Ego wrestles within me, driving my body into a world of ownership, of selfishness.

I do not care about others, for every motion drives my body forward, serving my desires without consideration for those around me.

L i m i t e d H a r d e n e d O b s e s s In a smaller, more covert realm of my consciousness, I recognize this hellish place as my driving force. I feel called by a deeper part of my body, a place beyond bone, muscle and tissue.

This calling awakens my consciousness, longing to break free from these guiding principles. I listen to the voice as it calls me to finally awaken to discover the glimmer of light overshadowed by the darkness. This light exists beneath the deep darkness, almost crushed with time spent driven by the Ego.

L i m H a

i t e r d

d -

I commit to this light, to this spirit dwelling within me.

This time, I choose to detach myself from the obsessive, excessive, self-fulfilling world and embark on this journey to embrace the Soul. I desperately desire to feed this part of my being, to bring forth this magical light so it might vandalize the world. Once fed, The Soul breaks through the evils I have taken comfort in and exposes empathetic stewardship within me, creating a more actualized Self.

" WAKE UP, THERE IS WORK

to b e

done.

"

As if called by another world, I feel directionally pulled. Something, somewhere deep within me is asking me to wake up. Wake up? My eyes are open, and I reach around, my senses taking in the world around me. I am awake. I can touch, feel, smell, hear and see. Touch. Feel. Smell. Hear. See. What’s missing? How could I possibly satisfy this mysterious voice echoing throughout my being?

And work? What work needs to be done? Anxiously, I fly through my daily tasks, checking each one off with ease. There is nothing left to do; I have finished everything. Actually, I am considering rest after a long, productive day. Yes... rest, maybe this feeling will leave with rest. I venture to my comfort, still aware of the deep, unsettling voice calling me so loudly to do the opposite, to stay awake instead of rest. Nevertheless, I close my eyes, dispelling all thoughts from my consciousness.

Unknowingly, I am meditating. I am actively relinquishing all thoughts. The swirling confusion silences, and I am left with a darkness, a nothing-ness. That is, until I try searching for the voice. Keeping my mind clear, I investigate the inner workings of my body. Starting at my root, my consciousness follows a pole driven upwards within my core. Traveling up the beam of light, my attention resides in my belly, then my chest, passing my throat, before finally reaching the crown of my head. All throughout this beam, I feel a particular lightness, unlike anything I’ve experienced before. As if energized by a power outside of my consciousness, this energy flows continuously through me.

Suddenly, I know what needs to be done. I have finally woken while deep in my mediation. Just like the voice said, I must commit to active work. I must feed this energy, this Soul. I must heal this inner part of myself so I may access it freely. I must feed my Soul until it is overflowing with light and positivity, seeping outside of my being, sweeping throughout my world, and calling

other’s

attention.

I awake, ready

for work to

be done.

Beware commercialization, for he wishes to make a product of you.

Advertisements will say the journey won’t pursue Without this thing, maybe even that one too.

Look out for untrustworthy sources, Making a game of these spiritual forces.

They just want to sell you courses.

Courses on spirituality, as if there is a magical key, Ignoring the significance of a personal journey.

With no mention of shadow work, or energy,

These faux authorities claim to know your needs.

They will sell you crystals, cards, all kinds of misleads, But you know best, you know what feeds

Ignore the fifteen second video online.

This journey is solely yours by design.

That Soul energy that you so desperately seek.

So, don’t fall for these tricks, for each journey is unique.

VE R

A CON

SA

O I T

H T I THE W N S

OU L

“You’ve done it, you’ve dispelled the Ego. You can embark on a life rid of attachments, no m​​ ore possessions of people, places or things are necessary. You have freed yourself.”

“But why do I feel so odd? So uncomfortable?”

“Freedom does not equate to comfort.

In fact, it’s inherently deviant. You’d be disillusioned to think that you could conquer this change and remain the same, believing and acting under the same guidelines.”

“Right, that makes sense. I wouldn’t embark on this journey towards self-actualization without expecting an entire shift in my perspective.”

“Precisely, the knowledge you’ve accumulated throughout this journey will provide you with an entirely new thinking pattern. You will notice elements of this world that will disgust you. You will find yourself at times detached from this self-interested, self-serving society. In turn, you will accept a new life. A life, in fact, driven away from the noise of this world. All previous endeavors to project, to react and to live in fear… they’re gone. Instead, you may live a life of joy, an existence absent fear. In this fearlessness lies a vandalistic intention to paint the world in this light, to showcase a life of community, of service and of awareness.”

“Basically, I need to stop giving a fuck?”

“You already have, you are a selfactualized being.

All obstacles imposed by the Ego have cleared, and you may now exist freely.”

1835 1930 1934 1940

ALLOWED FOR THERAPEUTIC TRAINING AND REPROGRAMMING, BUT ONLY FOR THOSE DEEMED “CAPABLE OF REFORM,” WHICH RARELY INCLUDED MINORITIES.

PRISONS IN THE NORTHERN US ADOPT THE CORRECTIONAL INSTITUTE MODEL

ON JUNE 23, 1934, CONGRESS ESTABLISHED THE FEDERAL PRISON INDUSTRIES, A PROGRAM FOR RELEASED PRISONERS TO DEVELOP SKILLS NEEDED TO TRANSITION BACK INTO THE WORKFORCE.

CONGRESS ESTABLISHES PRISON WORK SKILLS CORPORATION

CONGRESS CREATES THE BUREAU OF PRISONS

FIRST ALL WOMEN’S PRISON BUT WOULD LATER BE CLOSED DUE TO POOR TREATMENT

THE NATION’S FIRST WOMEN’S PRISON OPENS

1790

FIRST FORMAL PRISON IS BUILT

FIRST US PENITENTIARY OPENS IN PHILADELPHIA

THEY THINK I DID IT WRITING: CAITLIN DOWNING LAYOUT: EMMA FENDER

1961

1965 2010 2019

A BUREAU OF JUSTICE STATISTICS’ SURVEY FOUND THAT AROUND 419 OF EVERY 100,000 AMERICANS WERE IMPRISONED IN 2019 — THE LOWEST RATE IN NEARLY 25 YEARS, ACCORDING TO THE WASHINGTON FREE BEACON. THE DECLINE IN THE NUMBER OF PEOPLE BEHIND BARS CAN BE PARTLY ATTRIBUTED TO THE FIRST STEP LAW, WHICH REDUCED PRISON SENTENCES AT THE FEDERAL LEVEL.

PRISON POPULATION DROPS TO LOWEST IN DECADES

THE FAIR SENTENCING ACT OF 2010 RAISED THE AMOUNT OF CRACK COCAINE FOR A DRUG OFFENSE TO TRIGGER MANDATORY FIVE-AND TEN-YEAR-MINIMUM SENTENCES. IT WAS DESIGNED TO REDUCE DISPARITIES IN SENTENCING PEOPLE OF DIFFERENT RACES, WHICH HAD PREVIOUSLY RESULTED IN THOUSANDS OF LATINOS AND BLACK AMERICANS RECEIVING LONGER PRISON SENTENCES FOR DRUG CRIMES WITH RELATIVELY SMALL QUANTITIES OF CRACK COCAINE, ACCORDING TO THE BRENNAN CENTER FOR JUSTICE.

GOVERNMENT ENACTS THE FAIR SENTENCING ACT

IT OFFERED FURLOUGHS, WORK-RELEASE PROGRAMS AND SUPPORT FROM COMMUNITY RESIDENTIAL TREATMENT CENTERS TO PEOPLE INCARCERATED IN FEDERAL PRISONS.

PRISONER REHABILITATION ACT BECOMES LAW

THIS GAVE PARTICIPANTS THE RESOURCES NEEDED TO AVOID ENDING UP BACK IN PRISON, SUCH AS A SAVINGS ACCOUNT, APPROPRIATE CLOTHING AND A STEADY JOB, ACCORDING TO A 1969 REPORT IN CRIMINAL JUSTICE MONOGRAPH.

THE BUREAU OF PRISONS EXPERIMENTS WITH PRE-RELEASE CENTERS OR HALFWAY HOUSES

WITH THE UNITED STATES’ INCARCERATION RATE HIGHER THAN ANY OTHER COUNTRIES’, IT’S NOT HARD TO BELIEVE MANY PRISONERS ARE UNJUSTLY INCARCERATED. IN THIS TIMELINE, WE WILL EXPLORE WHAT HAS BEEN DONE TO IMPROVE THE PRISON SYSTEM AND ASK

WHAT CAN STILL BE DONE?

THE CREATION OF THE INNOCENCE PROJECT HAS HELPED ADVOCATE AND CREATE INITIATIVES FOR THOSE WHO ARE FALSELY INCARCERATED, MANY OF WHOM ARE ON DEATH ROW.

IN ORDER FOR TRUE JUSTICE, THE CRIMINAL JUSTICE SYSTEM NEEDS TO PRIORITIZE WHO DESERVES TO BE IN PRISON. ARE THE PUNISHMENTS FITTING THE CRIME?

ACCORDING TO THE CENTER ON BUDGET AND POLICY PRIORITIES, CITIZENS SHOULD LOOK TO CREATE INITIATIVES TO DECRIMINALIZE CERTAIN ACTIVITIES AND RE-CLASSIFY CERTAIN LOW-LEVEL FELONIES. THEY MUST ALSO EXPAND THE USE OF ALTERNATIVES TO PRISON FOR NON-VIOLENT CRIMES, DIVERT PEOPLE WITH MENTAL HEALTH OR SUBSTANCE ABUSE ISSUES, AND RESTRICT THE USE OF PRISON FOR VIOLATIONS OF PAROLE.

Content Director: Elizabeth Nitz Content Assistants: Victoria Schneider, Antonia Mason, Kiana Shamsbafi, Chiamaka Uwagerikpe Styling: Harper Brand, Courtney Devilla Beauty: Ashlyn Daughenbaugh, Elizabeth Kish Photography: Stephanie Lopez Videography: Emma Fender Writing: Olivia Wakim Layout: Nastasia Rozenberg, Sarah Orji, Riley Keuroglian

This isn’t a revolutionary idea, in fact, most people can come to this conclusion through sheer experience. Despite this collective knowledge, influencers continue to promote their unrealistic body images in what is essentially a marketing tool for workout routines, diets, detox teas and Photoshop.

The interplay between mental health and social media use is not a new subject. Anyone who uses Instagram, TikTok or Twitter probably has some kind of firsthand story about comparing themselves to the Instagram models and influencers who populate today’s social media pages.

By now, it’s common knowledge that looking exactly like a Kardashian or Jenner is impossible without forking over thousands of dollars and undergoing some intensive surgery. A mixture of private trainers, hours to work on their bodies and plastic surgery contributes to the miracle that is the “perfect” face and body. It’s almost like subliminal messaging. According to Tech Jury, the average Instagram user spends 28 minutes a day scrolling through Instagram. Even if they’re not following models or influencers, they’re going to come across them at one point, whether it’s in an advertisement, on the explore feed or in an Instagram story. Even if someone has a level of satisfaction with their body, scrolling past images of beautiful, perfectly endowed men and women will likely lead to some kind of comparison and dissatisfaction.

A study done by researchers from several different universities had a sample of college undergraduate women scroll through Instagram, an image-based app, and Facebook, a text-based app, then considered their overall body satisfaction. Results found that, “those who used Instagram, but not Facebook, showed decreased body satisfaction, decreased positive affect, and increased negative affect.”

Despite such an emphatic body positivity movement, the ideal body type continues to dominate the images we see on Instagram and the famous figures we look up to. Wanting to look beautiful isn’t a crime; neither is taking steps to alter one’s body to look more traditionally attractive.

The problem arises when public figures are dishonest about the actual source of their beauty, by promoting topics like focusing on mental health and body positivity, yet continue to Photoshop their own photos, in return promoting unrealistic healthy lifestyles and essentially preying on the insecurities of thousands of young women. According to Vox, “over the past decade, it has become unfashionable to discuss ‘weight loss’; the term has largely been replaced by the more general term ‘wellness,’ despite, in practice, often amounting to the same thing.”

Brands and influencers engage in performative activism for body positivity to seem more accepting, when in reality they perpetuate the same rhetoric we’ve seen for generations. Body positivity for magazines and fashion brands is made up of a collection of thin, white and light-skinned models hugging each other in a symbolic form of unity. It’s a fitness influencer posting a picture of herself slumping, emphasizing belly rolls to prove that she’s “just like everyone else, and Instagram doesn’t show it all, but also buy a subscription to my fitness program, meal plan, my line of pastel pink dumbbells, and also look at all of my subscribers who went from fat and unhappy to skinny and on top of the world!”

Fitness and wellness influencers disregard countless factors in the path to having the perfect body. One social media ad for a detox tea (which is ridiculous since your body naturally detoxes itself through the liver) implies that a subscription will shrink your rib cage, widen your hips, endow your breasts and solve every problem you’ve ever had. The wellness revolution discounts a few major components; not everyone has enough time to go to the gym for two or more hours a day. Working class individuals have at least one job, sometimes two or more just to make ends meet. Not everyone can afford a personal trainer, a gym membership, fitness equipment, detox teas or even healthy food. For an influencer living in the middle of Los Angeles, it is much easier to find and afford healthy groceries and restaurants. The implications these public figures create is that wellness is only for the privileged and wealthy.

And in reality, most people cannot afford plastic surger y operations.

Great Shape Barbie

Dumbell Set $10.22

Beyond these false advertisements, the proliferation of Photoshopping and photo alteration continues even as more influencers have supposedly spoken out against it (#nofilter).

Influencers will acknowledge the mental health issues inherent with using social media and comparing oneself to other users, then turn around and Photoshop their own content.

Fitness Set $13.55

These ideas of wellness and body positivity feel more like the same diet culture repackaged to look like activism and acceptance. It’s a PR professional’s most successful career venture. These influencers and models perpetuate a culture that feeds on men and women’s insecurities, profiting off of poor mental health and body image.

They’re selling happiness, beauty and perfection to people who didn’t even know they were lacking those things.

Eco Friendly Barbie

Eco-friendliness is the new pink. For influencers and individual consumers, keeping up with the new exciting way to go green is viewed as how to save the environment. Whether it means buying a pack of metal straws from Amazon, new beeswax cloths or a bamboo toothbrush, the implication is that to become an environmental activist, you must fork out cash to keep up with the newest zero-waste trends. According to Vox, “Companies are now marketing to the green consumer, and though there are clear environmental benefits to this, some zero wasters are concerned that this push to buy green products ignores those other two R’s of the environmentalist mantra: reduce and reuse.”

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Environmentalism at a consumer level is by no means something we should stop doing, but these green fads miss the bigger issues and move the burden of fault away from the real perpetrators. Climate change is a gigantic issue, a point reiterated by the newest U.N. Climate Report. According to the New York Times, no matter what actions we take, we are due for at least 30 more years of “worsening climate impacts.” Individual consumers themselves can’t make the huge necessary changes needed to alter the future of our planet. The duty falls on corporations, factories and other producers of pollution; on those in privileged positions to listen to communities who are unequally affected by pollution. According to Bitch Media, “corporations, of course, love the focus on personal activism because it absolves them while also becoming a tremendous source of revenue.”

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Environmental justice research shows that minority communities are disproportionately affected by air pollution. One study by the Universityof Michigan explains that in an attempt to maximize profits and decrease production costs, industries choose areas with cheaper land and a larger labor pool. These areas tend to be lower-incomecommunities “and because racial and ethnic minorities are disproportionately poor, the places where industry sites a new facility may also be coincidentally where people of color live.” On the other hand, when an industry moves to a specific neighborhood, it creates worse conditions, including “visual blight, noise, noxious odors, traffic congestion, fear of health impacts, social stigmatization, and others,” causing groups to leave if they can afford to do so.

Does buying a pack of metal straws help reduce this environmental injustice? Do Instagram accounts posting memes and TikToks shaming other people for not living a “zero-waste” life make a difference?

The best way to help the environment is to lobby for policy change and to demand that corporations act in an environmentallyconscious way beyond PR stunts.

TThhee

EEccoo

From a fashion standpoint, it’s no secret that the industry is environmentally destructive. It is the second most polluting industry in the world, according to Vogue, and despite countless movements to promote sustainable fashion, it doesn’t seem to be improving much. As college students, it’s unrealistic to expect completely sustainable fashion choices.

Sometimes brands such as Shein or off Amazon are the only affordable options, and shaming consumers who genuinely

can’t afford to shop from eco-friendly brands is not the best answer. In fact, with hundreds, if not thousands, of Shein haul Youtube videos and TikToks, the perpetrators actually represent a much larger and wealthier population.

The era of “Trying Shein Wedding Dresses” and “$1000 Shein Hauls” is at its peak. TikTok perpetuates this trend as it demands that influencers produce daily videos displaying their new and exciting outfits.

However, these are the people who can afford to shop sustainably. These are the people who magnify microtrends and allow the fast fashion industry to flourish by contributing thousands of dollars to hauls in which most clothes are likely to sit unworn in a closet or get thrown out in a year. It’s consumerism at its finest, perpetuated by people who actually can afford to avoid fast fashion. With great power comes great responsibility, and it’s time consumers demand to see responsible actions being taken. In the end, it’s not the individual consumer who will stop climate change by avoiding Shein and Forever 21, but who gives influencers a platform. The power lies in the consumer’s hands.

r r a i o r W

BLM Barbie

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In a social media-dominated world, it’s easy to be more performative than actually active, which is the reason that performative activism frequently dominates Instagram feeds. In order to diagnose this societal disease, it’s necessary to define it. According to Wisconsin Union, performative activism is “activism that is done to increase one’s social capital rather than because of one’s devotion to the cause.”​​It’s similar to peer pressure. When everyone online is talking and posting about a popular cause, the natural reaction is to repost the same cause in order to appear altruistic. It isn’t inherently bad, everyone probably falls into this trap at one point, but it tends to give the impression that all one has to do to become an activist is post an Instagram story or throw a link in their bio.

Word-of-mouth is an important facet in social and political movements. The more people speak out and spread support for an issue, the more likely it is to ignite real change on a political and social level. The problem comes when word-of-mouth is where the activism ends, or when p e

people care more about taking photos of themselves supporting a cause than actually taking necessary steps. Public figures, influencers, and even corporations are a section of the population that often fall into this category. They veer into the realm of hypocrisy at times by promoting a lifestyle they don’t actually live.

i ormative A c t i v

P er f

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A Letter to Plus Size Fashion,

WRITING: Blake Campbell LAYOUT: Jomarie Cortese

Hey. Long time, I rarely see you in stores. How are you? I’ve been hearing about everything that’s going on. In short, I’m sorry. You deserve better than that, let me elaborate.

I’m sorry you aren’t seen as fashionable. It’s not your fault; everyone just ignored your needs.

How were they supposed to know that plus-size people exist and want to look good too? I mean, sure, the normal collection fits within trends and the plus-size doesn’t, but at least their sizing goes to a 3XL, isn’t that great? And sure, the fads that come and go you can’t participate in, but at least you can give money to the same brand that won’t accommodate your body in their subpar plus-size collection. At the very least, you’re being included for once, so that’s something. I know it sucks to go into a store, find a cute piece of clothing and unfortunately realize that your size was never there. I’m also sorry about your experience with “regular” fashion. When someone does pay attention to you and creates inclusive sizing, you get told the clothing isn’t made for the body types you accommodate. Like that whole baby doll tee trend?

Where people were shopping in the children’s section of a thrift store and you were forced to either sit it out or be told it wasn’t for you? Yeah. The twinge of pain I felt for you is still there.

Another thing, even though we all know it’s bad, I get why you’ll go to fast fashion for help.

Stores won’t make their lines inclusive and mega-corporations are already exploiting their workers; it won’t be any more difficult for them to produce plus-sizes for collections because of how much they save by underpaying their workers. I know that’s something a thin person has probably never dealt with, having to pay more for a larger size when the production process of the piece doesn’t change. But I know it’s a reality for you, and – for that, I’m sorry.

I’m also sorry that sizing is so fucked up. I know that’s blunt, but think about it. You aren’t being included because each brand, label or company has its own sizing standards. There is no universal sizing to help you. The only reason you’ve trudged along for so long, is for you to have accurate measurements of yourself and the company providing measurements for each garment, which still isn’t as commonplace as it seems. Vanity sizing is another factor… why is one garment considered an XL by one brand and a 3XL by another’s standards? I know that this messed with your view of yourself, leading you to feel as if you’re seen as a burden for wanting to be inclusive. I’m sorry you’re trying and it seems like no one else is.

Here’s how I’ve come to understand how you’ve been screwed over. Fads have accelerated from once being a yearly occurrence, to having a new one on an almost weekly basis now. The amount of influence that TikTok holds on the fashion industry is unreal. For example, haute couture runway clothing looks out of style because we have moved through those specific trends already. Instead of haute couture setting the trends for the fashion industry’s upcoming year, they have been caught lagging behind internet fads, and the only people able to produce at the current speed are fast fashion brands. Since most of their customers are skinny, they are only going to release collections that go to a size XL at the most to increase their profits. Brands would rather make a quick buck now than hold off on production for a longer time period than what seems like a week to accommodate different sizes. I am talking about multi-million dollar companies.

They won’t tank by waiting slightly longer, although I know it’s hard for brands to keep up with the current trend cycle’s acceleration. There is a predictive trend software from companies such as Worth Global Style Network (WGSN) that have trends mapped out for years. It won’t be difficult for them to use that to predict what to make next, that way they can make it inclusive and you can be included.

Readers, if you found some empathy in your heart to read this far, here’s a reminder: try to slow down on your own clothing consumption. You don’t have to be at the forefront of every trend that rolls across your “For You Page”. It’s okay to slow down before you click purchase.

In the end, all you can focus on is what you can do. Keep pushing boundaries as what is seen as acceptable on all body types because it’s just clothing; it doesn’t define the person it dresses. Plus Size Fashion, again, hear my apology and hopefully things will be better soon.

Sincerely, A Person Who Can Relate

In the end, all you can focus on is what you can do.

Keep pushing boundaries.

Content Director: Tara Anastasoff Content Assistants: Melina de Groot, Eli Huszagh, Lindsay Bolinger, Trinity Gates Styling: Issy Regas, Harper Brand Beauty: Alexandra Catalano, Natalie Bacome Photography: Jocelyn Peña, Natalie Gillis Videography: Amal Supariwala Writing: Isabella Nitin Patel Layout: Emma Fender, Sydney Burton Bag Sourcing: Agora and Cara Benevenia

Sinister Tr It was a brisk, chilly Monday morning in Paris when chaos suddenly erupted in the office building of a popular satirical newspaper -- Charlie Hebdo.

In the midst of the mayhem, twelve people were killed and eleven injured by two brothers armed with rifles and other deadly weapons. Further investigation into the attack resulted in a compelling finding. The attackers had funded their act of terrorism through trafficking counterifeit sportswear. Counterfeit products are not what usually comes to mind when equating proceeds that fund terrorism, but this sinister act is not isolated.

In a world dominated by democracies rooted in capitalism, total ethical consumption is nearly impossible to accomplish, especially within the fashion industry. To combat the implications of fast fashion and thrifting, many people have resorted to purchasing counterfeit products. Consumers are attracted to fake goods for a plethora of reasons, such as their ability to be produced quickly to follow fashion trends and them being widely available in the market. Nevertheless, the most vital attraction of these products is their cheap price. Consumers want to be able to buy luxury products at a reasonable, affordable price and counterfeit products soothe their desires. This shift in consumer behavior may seem rather harmless, but it is shockingly malevolent.

The two trillion dollar underground economy of counterfeit products fund acts of terrorism aross the globe on a daily basis, and there is no current legislation to prevent these heinous acts.

ransactions For the sake of brevity and simplicity, counterfeit fashion can be defined as a replication of a product that is intended to be fraudulently presented as genuine. The counterfeit industry is more complex than just an individual selling cheap handbags on the bustling streets of New York City. It is a global operation that is funded through immensely wealthy business professionals who partake in fraudulent business transactions that primarily occur through online platforms.. No products are off limits when it comes to the counterfeit industry. Pursues, handbags, belts, and jewelry are just a brief snapshot of all the items that are being traded everyday to fund terrorism. These items are rotten from the core. Counterfeit products have approximately a two hundred percent profit margin resulting in mammoth funding towards the purchasing of ammunition, weapons, and explosion ingredients that will be used to terrorize individuals globally. This two trillion dollar economy has been immensely enabled by the emergence of technology. Online purchases allow for transactions to be swift and discrete, which is the perfect breeding ground for the counterfeit industry. With high volume and seamless transactions, consumers are contributing copious amounts of money to fund terrorism without any awareness.

How can the average consumer be consionable of their purchasing implications? Is it fair to say that humans should stop purchasing counterfeit products entirely? Well, it is a rather difficult and sticky situation to navigate, but not impossible. First and foremost, this is not an individual consumer issue, instead it is the institution of organized crime that has led to the manipulation of proceeds. As mentioned earlier, there is no ethical consumption under capitalism and malicious intent is hard to uncover independently. When browsing through websites with the intent to purchase items that may have counterfeit substitutions, there are a few simple steps you can take to avoid: Avoid outdated domains, look for trigger words, such as “master copy” & “straight from factory,”, avoid domains that do not include “https,”, and avoid websites that lack an “contact us” page/information. Malevolence runs rampant through capitalistic societies, and even the most careless purchases can result in astronomical effects.

HELLO, MR.ROGERS Fashion has been used as a vessel to exude power and confidence throughout history.

From extravagant designs or simply wearing specific colors, people have leaned on fashion to exude confidence from within.

The genre of style that radiates waves of power the most intensely is monochrome.

Historically, monochromatic fashion has been exhibited through the colors of red and black, especially in the wear of professional suits, dresses, and lingerie. These colors are commonly associated with power, sex appeal, and most importantly, confidence.

Nevertheless, monochrome continues to evolve thanks to an array of special designers.

Monochromatic styles have survived the test of time, as they have been a closet staple of the rich and powerful through history. Pivoting to the modern day fashion climate, we are seeing the emergence of monochromatic looks permeating into the closets of the average individual.

Society no longer sees monochrome pieces styled exclusively through men’s suits and womens dresses, but instead portrayed in every-day street fashion that is catered towards non-business professionals as well.

As the trend pendulum moves towards monochromatic styles, designer Christopher John Rogers has found concrete footing within this realm. Known for his elaborate and colorful designs, twenty-seven year old Baton Rouge native Christopher John Rogers initially found inspirations for his designs in an unconventional, unexpected environment: him and his grandmother’s hometown church. As a young child observing his fellow church-goers, he noticed how monochromatism reigned supreme as everyone sported one singular color from head-to-toe. Following the astute observations, Rogers was then enrolled in a school art program where his unblossomed potential for design was piqued. Almost twenty years later, he has taken all of his past experiences and manipulated them into creative expressions that have awarded him with prestigious accolades.

But what about Rogers is special? Why did he stand out amongst the plethora of young designers dying for a glimpse of publicity and recognition. Well, one swift batting of the eyelashes towards his collections answers the question. His designs have layers. They’re not just colorful and bold in nature, but they have stature, thoughtful complexity, and most importantly, they have boundless creativity woven within the seams. His garments are striking, and at first glance they punch you in the eye, shocked by the beautiful structure and confusing simplicity of the designs. The designer spotlight swings towards Rogers for an array of reasons that is even difficult to articulate through prose. Rogers is a trailblazer in the making. He emulates the future of monochrome and the ability of the style to evolve through the ever-changing fashion climate. His designs don’t only interest you, they intrigue you through the evocation of emotions that is rarely seen in fashion today.

Most importantly, his designs make you feel confident and powerful. Rogers is a man of many talents, and his designs have accomplished more than impressing the masses. He has influenced the re-emergence of this style in an novel, innovative approach. His monochromatic styles are not based on the historical influence of other designers. Instead, he has taken his grandma’s inspiration and created a whole new sub-genre of the style. Not only does he design beautiful formal wear, but also clothes that are meant to be worn in every scenario.

His pieces are meant to instill confidence in his consumers for any situation they are located in.

Innovation is power, and Rogers has started his novel career already pushing the constraints of normalcy and establishing a name for himself. His past clients include some of the most influential people in the world: Kamala Harris, Beyonce, Lizzo, the list could go on. As monochromatic fashion continues to progress, it will be exciting to see how Christopher Rogers will continue to define the style and advance his career.

Modern fashion is always evolving, highlighting new trends every season. For an item to be considered “modern fashion,” it must reflect the latest styles the great majority of people are wearing. Since trends constantly change, examples of “modern fashion” change as well; however, despite this constant change in trends, there is a recurring fascination that encompasses many trends dating back to the 1960s. Such fascination is working class culture.

Working class culture’s sizable impact on the fashion industry is consistently present on the runway. Oversized t-shirts, destructed clothing, sneakers— all made their appearance on the runway more than a fashion fanatic can count. High fashion has a deep history of utilizing references to working-class and lower-class people without being criticized. However, in a more socially aware world, monetization of these references can reflect another exploitive relationship within the fashion industry. The lower-class adopts a style and high fashion designers use the style as inspiration and elevates it to high class standards.

While finding inspiration is inherently creative, many designers seem to confuse that inspiration with class appropriation. At its core, high fashion stems from authenticity; however, designers taking inspiration from the working class is not only rooted in authenticity. It’s oftentimes rooted in an unfair power dynamic. According to Emma McClendon, assistant curator at the FIT Museum, “People in the upper classes of society feel that they can pick from anything; that everything is available to them, and that there aren’t necessarily consequences” (Garage). This mindset within the upper class creates a different level of injustice. They are concerned with profiting off authentic items, which have their roots in the need of the lower class. One of the biggest trends originating from the lower class is deconstructed or distressed clothing. Rips and tears in clothing signify a struggle. From the lower-class perspective, that struggle symbolizes labor or financial instability . The distressed clothing is an authentic lower-class symbol of work, and designers look to adopt this authentic symbol.

Another popular trend is union clothing. These types of items could be any type of wear that symbolizes a specific worker. 2018 was a big year for a specific type of workwear, specifically high-visibility—or hi-vis— workwear. An example of this type of clothing would be bright colored hazard jackets/vests. This clothing was worn by firefighters, police officers, school guards, and construction workers, representing people who provide a service. They’re worn to prevent accidents in specific work environments. These clothes are protection against hazardous situations. However, in 2018, designers created high-priced hi-vis clothing for its aesthetic value, valuing its bright image.

Burberry popularized this look in London Fashion Week. In 2018, a highlighter orange utility coat was placed under a black longline coat. In 2011, Prada released a Spring collection, featuring a scrub-like top. It was a rich blue V-neck with a large front pocket part of an array of bold and bright pieces. Miuccia Prada described the collection as “minimal baroque” (Vogue). The utility vest and the scrub-like top are designed to look like a uniform for those in this line of work, but they are made for consumers who aren’t in these jobs. They are elevated in a high fashion atmosphere for consumers who are obsessed with authenticity even though these items already have a specified purpose. Furthermore, people in these specific work environments cannot choose whether to wear these specific items. These brands draw their inspiration from people who dress in a matter of necessity and not by choice.

Writing: Shelby Wingate Layout: Sydney Burton

In 2015, Kanye released Season 1 of his Yeezy clothing line. One of his items is his “Destroyed” sweater, a $2,600 oversized knit with holes and tears. In the same collection, there are $415 cut off shorts that feature a rough hem (Bustle). Here, Yeezy adopts this workingclass theme of hard labor and engrains it into their clothing. Yeezy sweaters and shorts are authentically torn and ripped, which should justify their prices. However, this pricing is anything but reasonable considering destructed clothing didn’t originate within this brand.

INSPIRED BY BRANDALISM

CONTENT DIRECTOR: SARAH KATE HATLEY CONTENT ASSISTANT: TANIYA PIERCE PHOTOGRAPHY: ASHLEY MOORE BEAUTY: CARLY JUDENBERG GRAPHICS: ELIZABETH SWANK, SYDNEY BURTON, EMILY ENGLAND, NATALIE GILLIS, SARAH ORJI

INSPIRED BYTHROUGH THE EYES OF THE MISINTERPRETED

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INSPIRED BY SMILE, YOU’RE ON CAMERA

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To Hannah Kealy, Thank you for entrusting the Strike Magazine Athens staff to carry out your vision of this student led publication at the University of Georgia. You have truly created an experience for students like myself to evolve into business-minded creatives and leaders. To Emma Oleck and the Strike Collective: thank you for being a sounding board and understanding all of the ebbs and flows of this role. Strike Magazine has shifted many of our members’ lives for the better, allowing the misunderstood to be heard and to have a place where we finally belong. We owe you all of our love!

Xx, Nahdia Johnson