Garnet & Black Fall 2023

FALL 2023

STUDENT MAGAZINE OF THE UNIVERSITY OF SOUTH CAROLINA

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STUDENT MAGAZINE OF THE UNIVERSITY OF SOUTH CAROLINA EDITOR-IN-CHIEF MANAGING EDITOR CREATIVE DIRECTOR ENGAGEMENT DIRECTOR

CHLOE HUI PENAFLOR KAYLEN PRITCHARD LEXI CROFT MORGAN PINCKNEY

WRITTEN FEATURES EDITOR Ridha Fatima

FEATURE WRITERS Brooklyn Brown, Audrey Miller, Sydney Wilcox

HAPPENING EDITOR Jordan Jeffreys ASSISTANT HAPPENING EDITOR Gus Varallo

HAPPENING WRITERS

LIFESTYLE EDITOR Ahalya Muraleedharan ASSISTANT LIFESTYLE EDITOR Ella Lukowiak

LIFESTYLE WRITERS Gracie Belk, Simone Meyer, Brianna Rao

COPY DESK CHIEF Chris LeBarron

Sydney Lewis, Stephanie Roznowski

COPY EDITORS Grace Butler, Francesca Cumello, Jase Leonard

VISUAL PHOTO EDITOR Raynee Quillen ASSISTANT PHOTO EDITORS Laura Lucivero Alyssa Bladzik

PHOTOGRAPHERS Hannah Flint, Kirsten Clark, Rachel Egeland

ART DIRECTOR Lily Ferguson ASSISTANT ART DIRECTOR Megan Wooters

DESIGNERS Alexandra Adler, Chloe Ehlers, Imagine Patterson, Alexandra Tudor, Katlin Jeffcoat

MULTIMEDIA DIRECTOR Faith Fulmer

MULTIMEDIA Morgan Carter, Anna Heidel, Zane Heinlein, Kiehlen Keller, Shireen Kuar, Henry Wood, Sean Wright

STYLE DIRECTOR Toni DeLoach STYLISTS ASSISTANT STYLE DIRECTOR Kylee Strickfaden Benjamin Early, Joelle Elliott, Kassidy Hejlik, Jase Leonard,

Catherine Levy, Lily Miller, Tammy Nguyen, Linh Tran

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ENGAGEMENT SOCIAL MEDIA DIRECTOR Audrey Leach PUBLIC RELATIONS DIRECTOR Awani Bildikar

SOCIAL MEDIA MANAGERS Lauren Cole, Amelia Codillo, Zamiyah Johnson, PUBLIC RELATIONS MANAGERS Tamaria Dawkins, Ambria Gilliard, Laine Gray, Carly Kisselle, Imani Polly, Stella Tew

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CREATIVE SERVICES Ilona Donovan, Chloe Ehlers, Lily Ferguson, Jada Mack, Savannah Nagy, David Olsen Advertising: (803) 777-3018 To contact G&B, email sagandbe@mailbox.sc.edu or visit www.gandbmagazine. com. Garnet & Black Magazine is printed twice a year by students of the University of South Carolina and is distributed for free to members of the university community. All editors can be reached via email on our website. The office is located in Russell House University Union Room 339.

DIRECTOR OF STUDENT MEDIA

ASSISTANT DIRECTOR OF STUDENT MEDIA

Sarah Scarborough

Sydney Cranmer

ART DIRECTOR OF STUDENT MEDIA

Krista Larson

ADVERTISING ADVISOR

John Burbage

FACULTY ADVISOR

Scott Farrand

SPECIAL THANKS

Jason Porter

COVER PHOTO RAYNEE QUILLEN DESIGN LEXI CROFT

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Table of

6 7 8 10 12 18 22 23 25 26 30

Leditor

Our Theme: Sonder

The Art of Self

It’s a Drag Brunch

Emerging From the Façade

Woven Crowns

CEC Makerspace

USC’s Defunct Art Tunnel

Mathematics

Omnichannel of Art

Cicada

31 32 41 42 50 56 59 60 61 62 67

Around and Within

At Its Core

A Rainy Day in Japan

A Blue Sky

Interwoven: Web We Weave

Crochet Club Comes to USC

Night Breeze; Alone, Not Lonely

The Collapse

This is Love.

A Letter to Girlhood

Internal Gaze

How many Andis can you find?

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PHOTO LEXI CROFT DESIGN LILY FERGUSON

(noun)

AUTHOR KAYLEN PRITCHARD DESIGN LILY FERGUSON

THE PROFOUND FEELING of realizing that everyone, including strangers passing in the street, has a life as complex as one’s own, which they are constantly living despite one’s personal lack of awareness of it.

THIS SEMESTER’S THEME revolves around the intersection between togetherness and solitude through the lens of sonder, the idea that everyone’s life is as complex and nuanced as your own. To explore this idea, we will dive into the ways that people express themselves throughout the Columbia community and how the diversity of self-expression simultaneously marks individuality across campus and brings people together. ​ We all have unique ways of expressing who we are through art, music, community groups and a million other mediums. Sonder is born out of the idea that we are all different yet the same.

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Tattoos as Personal Canvases of Self-Expression AUTHOR JORDAN JEFFREYS PHOTO KAYLEN PRITCHARD DESIGN IMAGINE PATTERSON

icture the tattooed arms of a sailor, adorned with anchors and mermaids, echoing the tales of sea voyages and maritime adventures. Envision the delicate flowers etched on a woman’s collarbone, an ode to her love for nature and beauty. See the tribal patterns that bridge the gap between ancient cultures and the modern world, connecting generations through ink. In a world where self-expression is the ultimate currency, where the uniqueness of each individual is celebrated, tattoos have emerged as a powerful and compelling medium for conveying one’s innermost thoughts, emotions and identity.

Once confined to the fringes of society, tattoos have stepped into the spotlight, becoming a vibrant and respected art form that transcends boundaries, cultures and generations.

Archaeological evidence of tattoos dates back to 3300 BCE on the preserved skin of Otzi the Iceman whose body was discovered in the Alps between Austria and Italy, but the art of tattooing originated long before then. Tattooing is thought to go as far back to the Paleolithic era in Japan and Egypt, where tattoos were used to symbolize social statues and religious protection from harm. Early Polynesian and Maori groups used tattoos to broadcast ancestry, and Native American groups used tattoos to showcase their achievements and spiritual connections. However, during the rise of Christianity and the marginalization of non-European 8 | GARNET & BLACK

peoples, tattoos became associated with Paganism and criminals, and animosity toward tattoos as an art form was born (PSU).

This did not stop some Europeans from getting tattoos, though. Military men and sailors started flaunting tattoos in the 18th and 19th centuries as

a form of self-expression and a catalog of significant events and places they had been on during their journeys. In the 20th century, tattoos began to be associated with counterculture. Punks, musicians, artists, hippies and marginal political groups began getting tattoos as a symbol of their beliefs and a way to identify each other (Taunt).

Today, tattoos have moved from the sidelines to mainstream culture.

In spite of many people in older generations considering tattoos to be

unprofessional and a sign of immature and deviant behavior, tattoos are a fairly common form of self-expression. A lot of the mainstreaming of tattoos is thanks to celebrities, athletes and other public figures that have popularized and normalized tattoos over the past few decades.

Self-expression through tattoos is a deeply personal and artistic form of communication, allowing individuals to convey their thoughts, feelings, beliefs and experiences through permanent art.

“I think that tattoos are a way for people to put things that are meaningful to them on their own body,” USC student Alyssa Griffith said. “It is a way for people to own something special to them.”

One of the defining characteristics of tattoos is their permanence. Tattoos are a commitment, and once they are inked into the skin, they become a physical part of that person. This permanence is unique to tattoos that other forms of self-expression like clothing and hair color lack.

“I think the self-expression is affected by their permanence because many people thoroughly think these things through before getting them,” another USC student, Bonnie Dawson, said. “Because of this, every piece of art that someone chooses to put on their body usually tells some type of story about them.”

Biological sciences student Katie Walter brought up how the permanence of tattoos allows them to act as a sort of collage of one’s life: “I like the ability to track my life and past and present phases through the tattoos

I received during that time period,” she said. “My tattoos are an excellent reflection of my mental health and maturity at the time I received them.”

There is no doubt that getting a tattoo is a big decision, and what to get is just as difficult a decision to make. Many people spend a lot of time thinking about the design and the meaning behind their tattoos. Some people even design and draw their own.

“I got the three tattoos on my ankle because I’m a triplet and I wanted to represent the bond between my siblings and I even when we are separated,” Walter said.

Geological sciences and political science double major Laura Doughton shared her tattoo’s meaning as well: “My tattoo represents an important part of my childhood that I would never want to forget,” she said. “Having an ever-present reminder of it brings me joy and makes me feel more connected to it. “ “My mother has tattoos representing where she’s from and where she is now. She also has tattoos that represent each of her children, telling the stories of each of our births,” Griffith said. “I have a moon tattoo to signify my relationship with my mother. I plan on getting a matching sun tattoo on my other arm, showing my mom as the sun and me as the moon. My mother is such a light in my life, aka the sun, and I am a piece of her, the moon.”

However, not all tattoos have a deeper meaning. Many people get tattoos of symbols from their favorite book, song or movie. Others just get a design they like and think would be a wonderful addition to their skin.

Nevertheless, these tattoos are still an integral form of self-expression.

“Even if the significance goes no deeper than, ‘I think this thing is cool’, it still tells you something about the person,” Dawson said.

No matter the style or meaning of

the tattoo, tattoos have a major impact on a person after they get them. Tattoos can have a large impact on people’s social lives and self-perception.

“I have made so many friends from connecting over zodiac signs from them simply noticing my tattoo,” Griffith said.

“I love getting to tell the story behind it and having conversations with people about what their tattoos mean,” Doughton said.

Getting a tattoo that expresses one’s connection to a group or belief system can often be seen as a commitment to those entities. This can make it easier for passionate people to identify each other, which can enhance personal encounters and even create social circles that surround that identity.

Tattoos can also impact a person’s self-image.

“I love looking in the mirror and having my tattoo being shown back to me. They make me feel more like myself,” Griffith said. “I have found so much confidence in myself since getting my tattoos and I feel like I am truly who I am now that I have them.”

The responsibility of getting a tattoo can also be rewarding.

“I think I became more confident more so from the process of getting a tattoo and claiming that decision making than from the actual act of getting the tattoo,” Doughton said. “But having it reminds me how much I’ve grown since I got it.”

In a world where change is constant, tattoos remain steadfast.

They celebrate individuality, promote self-acceptance and serve as a bridge between the inner self and the external world. Tattoos, as a unique form of self-expression, continue to evolve alongside the people who wear them, telling stories that are as diverse and vibrant as the individuals who bear them.

In the end, the art of tattooing is a testament to the resilience of human expression, showcasing the enduring need to leave one’s mark on the world, both literally and metaphorically.

As tattoos adorn bodies, they also become mirrors reflecting the tapestry of human experience, proving that selfexpression knows no bounds, and its inked manifestations remain etched in the heart and soul.

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IT’S A AUTHOR SIMONE MEYER DESIGN CHLOE ELHERS AND KATLIN JEFFCOAT

MUSIC BLASTS through the speakers as drag king Marty Mc. Guy steps into the ballroom of Russell House. He is met by the USC community with enthusiastic applause.

With a suit decorated with pink ruffles and a mustache drawn onto his upper lip, Mc. Guy marches to the stage with confidence and a bright smile: the show has begun.

Earlier this semester,the Office of Multicultural Student Affairs hosted a drag brunch featuring four drag kings, Marty Mc. Guy, Don Javi, Marcel Blaze and Han Di Man as well as drag queen Kenya Pleaser.

All five performers took the stage that day to lip-sync to a medley of energetic songs, flashing their sequinstudded outfits and flirting with the crowd of enthusiastic USC students, which is only one facet of drag’s many eccentrics.

T h i s m a r ke d t h e s e c o n d consecutive year of the Queer Connections Drag Brunch event, a spectacle Assistant D i r e c t o r f o r LG B TQ Education Bri Newton takes pride in hosting, she said.

“The thought process was creating another space during the fall semester for LGBTQ students,” Newton said. “And drag is our ultimate form of expression for the community.”

Drag performances traditionally showcase an exaggerated gendered expression through both the performers’ costumes and set list. Drag performances are versatile in nature. Some examples are Story Time, where performers read children’s books while clad in costumes and donning characters, and lip-syncing performances such as those put on during the drag brunch.

While these two formats are popular, there are countless more.

Blaze shared that he appreciates drag for that precise reason: there is no one right way to do it.

“Everybody’s strengths are totally different,” Blaze said. “You got glitz and glam, you got camp, you got everything underneath the sun.”

At the brunch, each performer flaunted a unique style of drag, showing off their individual take on gender and self-expression through their performance.

Mc. Guy valued a comedic approach to his performance from his “Glee”inspired outfit to his animated facial expressions. Javi featured Spanish hits and a Latin dance rhythm. Blaze, on the other hand, hit the stage with high-energy pop and hip-hop hits while Pleaser busted down to the tune of confident female pop ballads. Finally, Man closed up the performance with a suave performance backed by sultry pop music.

Expressing identity is a critical part of drag. Not only do drag performers showcase their unique identities, they represent different sides of the incredibly diverse LGBTQ+ community.

“It’s a satire of gender roles and a celebration of gender expression,” Man said. “It’s a celebration of who we are.”

Culture also plays a key role in each drag performer’s work. Don Javi reflects his Latinx identity through his performances. When Javi started out as a drag king, he noticed a lack of Latinx representation in the art and decided to add a little bit of his own Latin flavor into his show, he said.

“I think last year I was able to

perform at three different prides,” Javi said. “And there was not a single pride that someone that was Latinx didn’t come up to me and say thank you for representing us.”

Along with the myth that there is only one way to perform drag, there is also bias regarding the body size of drag performers. Diverse body sizes and shapes are not expected on the stage, said Pleaser. As an overweight gay Black man, Pleaser finds it important to take up space on the stage. From the moment she steps into the spotlight, she effortlessly defies the discriminatory stereotypes.

“Being a bigger person, you always have to be covered up. You always have to wear certain things,” Pleaser said. “But no, let’s show some skin, let’s do a cartwheel. Let’s do a split.”

Pleaser’s drag is a love letter to black women, she said. She has found inspiration from Lizzo, Beyoncé, Whitney Houston and other powerful Black women.

“I’ve had women come up to me and say, you give me confidence,” Pleaser said. “I said, ‘Honey, no. I am me because of you’.”

Not only does drag represent the community, but there is plenty of comradery found backstage among the performers themselves as well.

“I thought it was going to be more of a personal journey and in a lot of ways it has been,” Man said. “But the drag community within the larger LGBTQ+ community is like my home. It’s where I found my family.”

While there is often a perceived divide between drag performers and the rest of the world, Newton believes that anyone can “do drag” and that drag is for everyone. While it is known predominantly as an expression of the LGBTQ+ community, anyone from any walk of life can both enjoy and participate in the art, Newton said.

“I think drag really teaches you that who you are is fantastic and to celebrate that,” Newton said. “Any shape of person you are, no matter what you believe in, no matter how you present yourself, there is a space for you in drag.“

In the face of recent anti-drag legislature with nearly 500 anti-drag bills, drag performers are under high scrutiny. Public paranoia that drag performers are aiming to groom young children result in bills banning minors from watching drag events in states such as Tennessee, Oklahoma and South Carolina. Mc. Guy recalls having to be escorted from a Story Time show because one of the audience members claimed he had a gun and would shoot the drag king.

These anti-drag movements do not only affect the performers; they inhibit transgender expression among youth.

Drag bans have historically been used as an indirect attack on transgender individuals. Under a drag-ban, any individual who is transgender can be criminalized simply for walking down the street, says nonbinary drag queen

and historian, Dr. Lady J in an interview with The Center for Public Integrity.

This hateful movement, however, does not stop the performers from flaunting their fabulous selves. Mc. Guy emphasizes that drag is an integral part of society; drag performers are everywhere, and they demand respect.

“We are teachers. We are doctors.

We are lawyers,” Mc. Guy said. “We are in the community just like you, we just put a little extra sparkle.”

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12 | GARNET & BLACK

AUTHOR AND STYLIST BENJAMIN EARLY PHOTO LAURA LUCIVERO AND LEXI CROFT DESIGN LILY FERGUSON MODELS JADA MACK AND ALLIE RAY ALL CLOTHES THRIFTED

SOCIETY INFLUENCES PEOPLE to live their lives a certain way, pressuring them to fill a mold that is uncomfortable to most, but convenient for some.

The rise of social media trends plays a role in the increase of pressure felt by those who express themselves in “out-of-the-box” ways. The harsh reality is that expressing yourself in inventive ways is complex and dangerous

for some. More and more people feel tied down by societal constraints, leading them to put on a façade that does not represent their identity. The

visuals represent the suffocation felt by so many as a result. The plastic and fabric represent restriction, preventing people from living authentically. Thus, this story challenges those to reject social convention and emerge from the charade that was forced upon them. Express yourself at your own convenience.

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EXPRESS YOURSELF AT YOUR OWN CONVENIENCE.

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In a society that seems to have so much to say about Muslim women, what do hijabi women have to say about the day-to-day experiences of expressing their faith? Three USC students share their stories.

AUTHOR RIDHA FATIMA DESIGN MEGAN WOOTERS

THE HIJAB IS A SYMBOL that has garnered much attention in recent years. While often considered to be a visual representation of Islam, the hijab has also been associated with negative stereotypes in Western culture. Women who wear hijabs, known as hijabis, have often found themselves under increased levels of scrutiny as a result of this physical representation of their faith.

What is it like to wear the hijab at USC and Columbia? What are the reasons that Muslim women choose to wear the hijab, and how do they navigate all of the misconceptions associated with it? In a society that seems to have so much to say about Muslim women, what do hijabi women have to say about the day-to-day experiences of expressing their faith? Three USC students, Saidah Wade, Taahera Islam and Bsmla Berber, share their stories.

To many Muslim women, the meaning of the hijab goes much deeper than a garment covering their head and neck, tying into an individual’s identity and the way they present themselves to the world. While the interviewees expressed how they found hijab to be a rite of passage and a symbol of their faith, they began to wear hijab at various ages after seeing other figures in their life wear it, such as their mothers, aunts and sisters.

Islam explained that she started wearing the hijab in the fifth grade.

“In Islam, when you hit puberty, that’s when you start wearing hijab full-time,” she said. Wade, on the other hand, began wearing the hijab at three years old after seeing her mother wear it.

Berber has also been wearing the hijab since before puberty, when she was eleven years old. She was excited to reach the coming-of-age moment that came with wearing the hijab and

wanted to follow in her mother’s and aunts’ footsteps.

Although the hijab can provide the opportunity to become closer with one’s relatives and community, the significance of the hijab is different for each person who wears it. “I try to think of it as a crown,” Wade explained. “You’re representing religion, you’re representing yourself, you’re representing other Muslimas, no matter where you’re at, or at any time.”

Islam appreciates the significance of the hijab as it allows her to be an ambassador for her religion. “When people view me outside, they know as soon as they see me that I am Muslim.

It is something that makes me stand out, but I’ve always taken that into a very positive light because, for me, it gives me the opportunity to represent my religion in a positive way when there are a lot of misconceptions and bad media around Islam. For me, I’ve never felt hijab to be a burden in any way.”

On top of this, the experience of wearing the hijab is not static; a person’s reasons for wearing the hijab can change throughout their life as they continue to grow into who they are as a person. Islam explained that when she initially started wearing hijab, she was hesitant in answering questions related to her faith. “I think when I started wearing [the hijab], I wasn’t as confident in myself,” Islam said. However, as she has grown older and learned more about her religion on her own terms, Islam has become more confident in her identity as a Muslim American.

Berber also explained how she recognized the value of the hijab to herself as she became older. “Now, for me, wearing the hijab – it’s my identity.

I wear it because I want people to know I’m Muslim, because I’m proud of being Muslim, and I also want people to come to me with questions. I want to be able to represent Islam and I want people to be able to point me out and say, ‘There’s a Muslim and she’s pre-med,’ or, ‘and she’s an RA,’ and all these things.”

Wearing the hijab is a personal choice for each individual that leads to differences in their experience of Islam relative to Muslims who do not wear the hijab. All of the interviewees mentioned how wearing the hijab automatically signifies to those around them of their faith, whereas those who do not wear the hijab have a choice in telling people whether or not they are Muslim. Wade explained how there were often times during high school where people would know she was Muslim, but not her brother.

Islam expanded on this idea to mention how wearing the hijab invites criticism from both outside of and within the Muslim community. “I think the biggest thing about being a hijabi Muslim is that you face scrutiny from both sides. You face scrutiny from non-Muslims who view you as ‘the other’, like you’re different. But at the same time, when you think that you’re gonna get support from other Muslims, you’re scrutinized more by them. Not everyone, of course. But I would say there is one group of Muslims who will put hijabi women on a pedestal and expect them to be perfect, to do everything perfect – because, like I said, you are representing your religion, but at the same time, we’re not perfect people. We’re not perfect Muslims.”

Alternatively, Berber explained how she realized that wearing the hijab came

GARNET & BLACK | 19

with an increased responsibility. Berber people that you only got something shared that she always wants people because of the way you look, because to ask her questions about Islam, but you’re different, because they’re it is still a significant undertaking to be looking for diversity – I think that’s a continuous spokesperson for your so gut-wrenching.” Islam shared that faith – something when individuals that was not make these unwelcome, but comments, they still unexpected undermine the Now, for me, wearing the for her when she amount of work first began to wear hijab–it’s my identity. I wear and preparation the hijab. “I’ve she put into it because I want people to getting a certain found myself a lot of times having opportunity. She know I’m Muslim, because struggles with to advocate for myself and other I’m proud of being Muslim, how to respond Muslims on to people when and I also want people to campus and also they make such explain things comments to Muslims do on come to me with questions. her, and she fears campus.” that people will BSMLA BERBER Wade, Islam think that she and Berber have only received an also each felt opportunity for pressures as they the way she looks, navigate their professional careers at rather than her qualifications.

USC. “I feel like there’s always gonna The interviewees all state that be that challenge of having an extra they have not faced as many overtly step to prove yourself,” Wade said. Islamophobic encounters at USC, and “Especially now more than ever with most of the questions they’ve been affirmative action – that’s just another asked throughout their lives have layer of what’s already been here.” been out of curiosity. However, there Berber voiced other concerns have still been microaggressions and related to this topic. “With all these times when they have been faced with misconceptions surrounding hijabis misconceptions about hijabis and in the media, I feel like there’s always Islam from others. “There is an existing this expectation to be the best. You sexualization of Muslim women,” can’t just be a doctor, because you’re Islam said. “There are these certain a hijabi. So, you have to be a good hijabi misconceptions that people have doctor, a good hijabi writer, a good based on things they’ve seen in the hijabi period.” media, like with Mia Khalifa.” Islam said Islam explained how there have been that this led to many guys in her high times she has been told that she only school classes to ask her perverted and received an opportunity or internship inappropriate questions. “I think during because “the company was looking that time, I was just really embarrassed. for diversity”. “To hear from other I would brush it off, but looking back

20 | GARNET & BLACK

at it now, I see it was such a big deal, and I didn’t really understand the sexualization of Muslim women during that time.”

Both Wade and Berber also mentioned Laura Loomer, a conservative activist who was invited

by Uncensored America to speak at Russell House, according to ABC Columbia. Loomer is known for her bigoted and Islamophobic comments.

She was previously banned from using ride-share services such as Uber and Lyft after posting Islamophobic comments, and she was banned from X, formerly known as Twitter, in 2018 after criticizing U.S. Representative Ilhan Omar for her faith. She has also previously called Muslims “savages” and Islam a “cancer”, according to The Guardian. During her speech at USC, the Post and Courier states that Loomer declared that male Muslim Uber drivers were dangerous and how Islam is “not a religion”, but a “political ideology”, amid other baseless claims.

Berber said she spent up to a week leading up to and after the event emailing and calling university officials, as she and many other Muslim students did not feel safe with Loomer on campus. University officials did not do anything because “their hands were tied”.

Wade explained how this event negatively affected her as well. “[Loomer] made an Islamophobic speech right across from our prayer room in Russell House. During Ramadan, while we were fasting,” Wade said. “You meet with [Muslim Student Association], you meet with different Muslims on campus and you try to be comfortable enough to break out of that shell in order to pray in a room that’s not private or pray with

other people or fast and meet with each other – and we can’t even be in an area by ourselves without feeling threatened or someone making terrible comments like that.”

In “Hijab, Gendered Islamophobia, and the Lived Experiences of Muslim Women”, Dr. Naved Bakali and Nour Sabani explain how “Islamophobia operates on multiple levels, and is compounded by struggles of race, class, and gender among others.”

Each of the interviewees have found that their experience with the hijab and Islam have been influenced by other parts of their identity.

Islam talks about an encounter during her AP Human Geography class in high school, in which a student told her, “Even though you are Muslim, I am not afraid of you”. When Islam asked for clarification, the student replied, “You’re a Muslim woman, so I have no reason to be afraid of you.”

“I was just really confused,” Islam said.

“I think this ties back strongly into the idea of Muslim women being oppressed, and how we’re just meek women, very submissive – all of those misconceptions that people have about us, which ties into a bunch of different tropes. With me also being Asian-American, that’s a whole trope of Asian women and how they’re submissive.”

Wade, who is Black, explains how she has faced racism both from within the Muslim community and outside of it. Although racism and other forms of discrimination are forbidden in Islam, it does not stop individuals from acting on their prejudices. Wade shared that there have been times when people at her local mosque have not wanted to pray next to her or even shake her hand.

“One thing my father always reminds me is that there are two struggles,” Wade said. “Not only am I Muslim in a majority Christian society, but I’m also a minority. I’ve always kept those two things at my forefront, whether that’s applying for something or going into a room where no one looks like me. You have to adjust to those types of things, and I have learned how to make myself comfortable enough to strive for what I want, rather than thinking about the uncomfortable.”

Berber has found that her experiences with mental health have been influenced by her identity as a Muslim. Berber explained that she has often encountered the misconception that because she has mental health struggles, she is not religious enough.

However, Berber has found that learning more about Islam on her own terms has allowed her to have a stronger relationship with her faith.

“From that, I was able to use religion as a way to lessen my anxiety because I knew there was a higher power there. I wasn’t experiencing anxiety because I wasn’t close to God; I was just experiencing anxiety because I had anxiety.” Berber is now a mental

health ambassador on campus, and shares her struggles with mental health while advocating for mental health awareness.

Each person interviewed is their own person who has made their way.

Their hijab has influenced their path to who they are now, but the hijab is also only one part of them. The media might influence people to lean into stereotypes, to see individuals wearing a hijab and to try to put them all into the same box. But people cannot be contained, and to try to characterize someone with one word is reductive.

Although Muslim women share an identity and community, each person’s life is rich and varied in their own right.

For other Muslimas and hijabis, Islam shared this at the end of her interview: “Do not be afraid to take up space, because why should you? There’s nothing that makes you so different that means you shouldn’t be allowed somewhere; we’re j u s t r e g u l a r people.”

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CEC MAKERSPACE AUTHOR GRACIE BELK DESIGN MEGAN WOOTERS

D

o you have a favorite creative outlet that puts you in a good mood after a bad day? For a lot of College of Engineering and Computing students, that place is the Makerspace. The Makerspace is a place for the students of the CEC to explore their creativity and imagination through technology. Whatever a student can imagine can be made at the Makerspace using their 3D printers, coding devices and plenty of other tools. There are maker-mentors and other staff who are available to assist students in bringing their ideas to life.

Rori Pumphrey, a maker-mentor, showed her love for her job when she stated, “It’s incredible. I love teaching students skills on all things making.”

Pumphrey works at least ten hours a week to assist with these projects and help them come to fruition, occasionally even staying after her shift. Through grants awarded to the Makerspace, the staff is able to keep their passion alive and be compensated for their work. Through smaller projects and workshops, the staff help to foster a new passion in engineering students, giving them a safe place to foster their ideas without the pressure of a grade.

Students can create designs from some

of their wildest dreams, within reason of course, inside this safe place that has been created. One of their most recent projects, a 3D printed sunflower that can detect and turn towards the light, is a great example of the interesting creations from the Makerspace.

It is not only a haven for the students, but the staff as well.

Pumphrey explained how the job has affected her, “I love helping people get to where they want to be. I’m going to hopefully stay in academia and be a professor. So, this gives me a lot of great experience to understand what people want to do, and then help them bring it about independently, while also just functioning as a mentor. This has been a fantastic outlet to do that.”

The space was created by Dr. Jed Lyons, the senior associate dean of the College of Engineering and Computing, along with Sowmya Raghu in 2021. The collaborative space created a new space for students to work on their own ideas without classroom constraints. With the assistance of staff and technology, they are able to become hands-on with their own projects.

Not only is it beloved by the community, but also by the minority

population within the CEC. By putting on workshops and planning projects for women in STEM and first-generation college students, the space tries to bring these populations together and garner new connections within the college. Pumphrey said, “The CEC can be kind of isolating. Especially, if you’re in a specific or large class, and you don’t know anyone. So, I feel like that’s been a really valuable resource to a lot of people to get to know, those who are similar to them.”

The space tries to cultivate an idea outside of the typical stereotype of the general engineering student.

Pumphrey shared, “We are the absolute opposite of the engineer stereotype, which is great to bring that out in people. Because when you’re stuck in the grind of classes you can fall into the stereotype pretty quick. I think it’s nice at least to have an outlet, not to do that.

Be crazy, do fun things, for no reason except, why not?”

A unique freedom lies within the Makerspace, one where students don’t have to worry about getting funding or creating a proper thesis, they are able to build their knowledge with their own ideas and creativity.

Is graffiti art or vandalism... or both?

AUTHOR KAYLEN PRITCHARD DESIGN LILY FERGUSON

HUMANS were born to create.

Be it an invention that leads to a groundbreaking scientific discovery, a book of poetry that inspires social change or a musical masterpiece that brings rooms of symphony-goers to tears, we as a species can and will create.

Visual arts permeate our society in increasingly innovative ways: on our screens, in galleries and sometimes even in city infrastructure. As an art form, graffiti has its origins in civilizations as ancient as the Roman Empire. More than two thousand years into the future, graffiti continues to be a popular mode of creating unique visual artworks often accompanied by a social or political message.

USC students have created their fair share of graffiti over the years, and up until recently, the tunnel underneath Assembly Street was a kaleidoscope of spray paint. Students painted anything from pride flags to animals to messages greeting their fellow Gamecocks. Now, if you enter the once-called “art tunnel,” you will see nothing but a fresh coat of paint.

Students are no longer allowed to decorate the walls, and any semblance of past student art is lost to time. Since the tunnel has been painted over, the

majority of USC students today do not know that the art-studded tunnel ever existed.

Some students have left small sharpie inscriptions in the tunnel, imploring university leadership to allow the tunnel walls to become canvases again. While you will not see any art in the tunnel, you will see small, periodic postings reading, “LET US PAINT.” The backlash against graffiti in the art tunnel, in addition to student outcries for the art tunnel to be reinstated as such, begs the age-old question: Is graffiti art?

This question has sparked heated discourse for decades. On one hand, graffiti artists argue that their work is no less valid a means of self-expression than is any other art form. However, some consider graffiti to be nothing more than vandalism.

Let’s start with the very basics.

The Oxford English Dictionary describes art as “the expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power.”

Art is famously subjective, but it is fair to say that many of the works in the art

tunnel were artistically compelling — if not to others, then to the person who created them. By definition, graffiti is art. But this does not absolve it of its vandalistic reputation.

Vandalism describes damage done to private property, and it carries a misdemeanor charge in the state of South Carolina. As long as the university prohibits graffiti in the tunnel, students can face repercussions if they choose to embellish the walls with their own creations.

Graffiti is art, but it is also vandalism.

The two do not have to be, nor are they, mutually exclusive.

USC is a place that claims to value student individuality and expression.

Some students wonder if a single tunnel adorned with graffiti is all that grave of a vandalistic risk, especially when contrasted by the amount of joy that the on-campus canvas provided for budding artists.

That joy is certainly worth something, and now, it has been extinguished.

And for what real purpose?

The question is not clear-cut, but the beauty of art lies in the nuance.

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with 4 different peer-support meeting formats every week

sc.edu/sape/recovery

STUDENT SUB STUDENT SUBMISSION MUSKAAN MAKKAR DESIGN MEGAN WOOTERS

I tend to equate my life to math class Success at either one does not come naturally Practicing every possible testable scenario Offers me a semblance of preparation

Everyone always tells me that this practice is admirable “Hard work beats out talent when talent doesn’t work hard” I’ve got them all fooled This process is merely recitation So that when this phase ends and the next one starts No one will ever know I struggled But don’t worry, society’s perfect system isn’t broken (just bent) I still learned math Just in a different way then they thought I would Allow me to show my work:

I am quick to understand averages I average out the good and bad in everyone I meet The standard deviation is always close enough to the mean For me to justify staying And even if it isn’t - my TI-84 is dead So I don’t know how to calculate it anyway I never understood series and summations But I had to incorporate them in my exam somehow I am a summation Add for an accomplishment Subtract for a flaw Subtract for every flaw I am left with a negative integer I am left with nothing but failure I know my calculative perception seems odd But I got an A in Calculus So who cares if I don’t know how to read people

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OMNICHANNEL AUTHOR AND STYLIST JASE LEONARD PHOTO LAURA LUCIVERO AND KIRSTEN CLARK DESIGN MEGAN WOOTERS MODELS HALLIE COLE, GRACE SMITH AND TJ WARREN

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OF ART

ARTWORK “GROTESQUE PANEL”, JACQUES ANDROUET DU CERCEAU, 1550

P

eople connect with others in many ways, but one important way humans have always found that connection is through art.

No matter how advanced technology becomes, art remains and will always remain, a unifying force in our world.

From the beginning, humans have used art to communicate, express their emotions and tell stories. Art has been instrumental in understanding the history of humanity. It is not only used as a tool to peer into the past but likewise a preview into the future. Art, in every form, is here to stay.

Technology has made creating art easier than ever, but it has also started to make art without an artist.

Viewing the work of an artist who has poured their heart, soul and time into a piece amplifies the whole essence of what art is.

Art is woven into every person in distinctive ways.

Art is essential in connecting society together in a time when isolation is easy.

ARTWORK “RIVER LANDSCAPE”, JAN BRUEGHEL THE ELDER, 1607

Art is painting, sculpting, fashion, drawing, makeup — it is expression. Art is timeless.

The online world makes seeing art seem like less of a privilege than it is.

So, put on your favorite playlist and go to an art museum. Scroll through an online database of art collections.

Doodle out your stress on a hard day.

It is easy to brush off the things that make humanity human, and art is one of the simplest ways to connect with that. All clothes in this shoot were provided by artist and designer Diko Pekdemir, owner of the clothing company Anton & Maxine.

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ARTWORK “THE VIRGIN AS INTERCESSOR”, SIR ANTHONY VAN DYCK, 1629

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Cicada STUDENT SUB STUDENT SUBMISSION EVER CURRY DESIGN MEGAN WOOTERS

a broken cicada wing is always trampled on, by people who never gave his living body a glance. it is good the cicada wing is trampled on. from the cicada heavens— one-wing down— he watches all the footsteps and who they belong to. from the cicada skies— he learns to appreciate— there are many who know of his wing; there are many who live in his place they are all given a chance.

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AROUND AND WITHIN STUDENT SUBMISSION KAITLYN MARTIN DESIGN ALEXANDRA ADLER

T

he artwork is a 13 foot by 3 foot handmade paper pulp painting I did this summer at the Penland School of Craft through a USC-funded scholarship.

The work itself would not have been possible without the financial and artistic support of the creative community at the School of Visual Art and Design. My piece is about self-expression and fighting artist block, searching around and within for inspiration. I think this narrative is something every student can relate to during the trying times of pursing higher education, when everyone requires personal motivation and uplifting support of a community. The large scale and abstract nature of this piece emphasizes the feeling of being overwhelmed, yet excited.

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CREATIVE DIRECTOR AND DESIGN CHLOE HUI PENAFLOR AUTHOR KAYLEN PRITCHARD STYLE TONI DELOACH, CHLOE HUI PENAFLOR AND KYLEE STRICKFADEN PHOTO RAYNEE QUILLEN AND RACHEL EGELAND MODELS DESTINI AUSTIN, DEJUAN CARSON, KEVIN FRANCIS, MOLLY MIMMS, AND HAILI ZHANG

THE CONCEPT OF FASHION “CORES” has skyrocketed in popularity with the growing prominence of social media. It’s not uncommon to see Pinterest boards curated to encapsulate a specific aesthetic — perhaps you have even made one yourself. The desire to fit a certain core has its appeal, whether people just want to give off a certain vibe or even find online communities of others who share their same interests. Regardless of one’s purpose for pursuing a core, we’re all looking to achieve a common goal: to find our personal sense of style.

Some of the most popular cores are simply fashion styles that follow the same set of general aesthetic rules, but other cores are extensions of larger online communities that work to embody an entire lifestyle.

Maximalism is, quite simply, an aesthetic of excess. More is more, and overthe-top is never quite enough.

Maximalism combines a

smorgasbord of colors, textures and patterns to create an eclectic fashion style that appeals to those with a desire to stand out. If you think a neon pink puffer jacket, orange checkered pants, multicolored Docs and a gingham scarf do not go together, think again. There’s a maximalist enthusiast

who would wholeheartedly disagree.

Anything goes as long as you wear it with confidence, so do not be afraid to mix it up.

Achromatic simply means “without color”. However, this is not synonymous with “without style”. Known for playing with shades of white, gray and black, achromatic looks are appreciated for their cohesive color palette, or lack thereof, and for their inherent elegance.

For those who are new to high fashion, leaning into an achromatic aesthetic can be a great way to explore interesting patterns and textures without becoming overwhelmed by an excess of colors from which to choose.

More experienced dressers can take advantage of the achromatic to create visually stunning outfits whose patterns and textures can fully shine in the absence of color.

Many popular aesthetics are extensions of broader communities, many of which have found online niches on platforms such as Instagram and TikTok. These communities embrace the aesthetic beyond the realm of fashion and delve into the worlds of pop culture,

All clothes are sourced from the stylists’ closets.

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interior design and practically any other form of consumerism or selfexpression. For example, someone who wishes to personify the dark academia aesthetic may dress in dark academia fashion but also read classic literature, study Latin and drink black coffee seven times a day.

Dark academia seeks to emulate aesthetics reflective of higher education, the arts and literature — or rather the idealized version. Rooted in fashions of the 1930s and 1940s, the closet of a dark academia dresser will be filled with classic pieces such as turtlenecks, blazers, pleated trousers and loafers. If it looks straight out of “Peaky Blinders” or “Dead Poets Society”, it is probably dark academia.

Many people who wish to embody the dark academia aesthetic do so because such outfits give off an air of academic and intellectual prowess. Donning a trench coat and a pair of leather Oxford shoes is a bit more practical than carrying a copy of your favorite Dostoyevsky novel everywhere you go.

Unfortunately, there is a dark side to the aptly named “dark academia”. While the aesthetic seeks to romanticize education and a perpetual state of philosophical melancholy, it also romanticizes unhealthy byproducts of academia such as caffeine addiction, burnout and substance abuse, particularly alcoholism. Dark academia fashion is also heavily saturated by tailored and expensive pieces, resulting in criticisms of elitism.

Cottagecore is one of the most popular fashion aesthetics circulating on TikTok, with #cottagecore reaching well over 15 billion views. The aesthetic takes cues from rural European life, featuring flowing and feminine pieces known for their light color schemes and frequent use of florals. Cottagecore romanticizes a simple life, complete with provincial activities such as making bread, gardening and thrifting vintage furniture.

Similarly to dark academia, cottagecore is not without its negative aspects.

The online community surrounding the aesthetic is heavily dominated

by women, and the rural way of life promoted by cottagecore often includes shades of “tradwife” ideology.

The word “tradwife” describes a woman who believes in and practices traditional gender roles within a marriage. While

there is absolutely nothing wrong with a woman desiring a classic family structure and traditional values, the “tradwife” mentality is often paired online with alt-right ideas surrounding

femininity, particularly the rejection of modern feminism.

Normcore is a tongue-in-cheek aesthetic that embraces the simple, ordinary and mainstream. Wearers opt for a lack of individuality, often donning familiar pieces such as hoodies, t-shirts, sweatpants and sneakers.

While some normcore enthusiasts purposefully put together simple outfits either for comfort or fashion appeal, or intentional lack thereof, others embrace normcore looks simply because they don’t feel confident dressing in a way that subverts the mainstream.

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The diverse and seemingly endless world of fashion can be very overwhelming, especially for those who have not found their own sense of style.

Congratulations, you now have access to adult money and are ready to start shopping for outfits that make you feel like you. But where do you start? How does one go about finding individuality in their dress when it can be so daunting? For those who a r e new to the world of fashion or who are less confident with putting together unique outfits, the power of simple layering cannot be overstated. An oversized sweater can turn the age-old sweatpants and Chuck Taylors combo into something a bit more exciting. There is nothing more basic than

a black t-shirt — until you pair it with a collared button-up and some tailored pants. A few well-chosen accessories like sunglasses, a set of rings or an eye-catching necklace can also be instrumental in taking an outfit from something you would wear to take your finals and turning it into interesting streetwear.

Humans are inclined to seek community with others who have shared interests and values, resulting in fashion aesthetics transcending simply being clothing

and accessories. Aesthetics are seen by many as a way of life, an idealized version of oneself. Our obsession with maintaining a certain image can be all-consuming, and it can also be extremely pricey. A single piece of wellmade clothing can run the wearer up hundreds of dollars, a feat of sticker shock that most wearers cannot afford.

In response to those who wish to wear their desired aesthetic but who lack the budget to do so, fast fashion companies such as SHEIN have created monstrous collections of pieces that cater to every aesthetic one could imagine.

These pieces are inexpensive, poorly made and made to exploit the wallets of broke fashionistas who simply cannot afford to shop sustainably.

The market for fast fashion to achieve an aesthetic is certainly

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understandable, especially with growing pressure from social media to always present the perfect life. The rise of online aesthetic communities has come with cripplingly strict social expectations when it comes to fashion, but few people are able to shell out thousands to curate closets filled with ethically sourced clothes that fit their style. However, it is vital that consumers are aware of the impact of the companies that they choose to support. Apart from being notorious for overworking and underpaying their employees, Shein has been under scrutiny lately for allegedly stealing designs from independent artists and mass-producing them to be sold at extremely low prices. Clothing is deemed a utility item, and it is therefore not under as many protections as other art forms. Nonetheless, multiple artists have sued SHEIN for indisputably ripping off their designs and selling them for a fraction of the price — and a fraction of the quality.

With sustainable fashion becoming more and more pricey each year, consumers are constantly looking for more affordable ways to dress how they want. Luckily, fast fashion is not the only way to achieve this. Thrifting has lately been praised as an excellent alternative, and it is quickly become a social phenomenon. Thrifters enjoy the thrill of the hunt, allowing

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them to piece together unique outfits that they never could have predicted before stepping into the shop. Estate sales are fantastic sites to find more classic clothing, things that would categorically fall under the academia umbrella of aesthetics. And while some people may be intimidated by making or tailoring their own clothes, upcycling remains a great way to turn dated pieces into something fresh.

Embracing cores can be spectacularly fun. It is edifying to find communities of others who enjoy the same things that you do, but it can be very easy to lose your sense of individuality in the process. The obsession with flawlessly encapsulating a fashion aesthetic can come with a lot

of pressure that ultimately leaves you wondering, “Is this really me, or am I just copying how others have said I’m supposed to look?” There is no right or wrong way to dress, and there is freedom and excitement in mixing and matching pieces that fit your personal style, regardless of how they fit into a socially agreed upon “aesthetic.” At its core, the beauty of self-expression is in its diversity.

Warm Up with New Gear this Semester!

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Shopgamecocks.com UNIVERSITY OF SOUTH CAROLINA OFFICIAL BOOKSTORE 1400 Greene St, Russell House, Columbia, SC 29208 UofSCBookstore

A Rainy Day in Japan STUDENT SUBMISSION KAT WYANDT DESIGN MEGAN WOOTERS

AS AN ASIAN AMERICAN, my identity has always felt divided between how people perceive me outwardly and how I define myself. This picture was from my study abroad trip in Japan, my first time being in a place

where there were more people who looked like me than not. What struck me was how, when there was not a physiological difference automatically “othering” you, people found their friends and their self-expression in the

traits you cannot automatically see.

In this picture, students, families and tourists all move around the historic site, the Fushimi Inari Taisha, as their lives all intersect and diverge from one another at this one point in time.

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A BLUE SKY From Korea to America — the story of immigrating to Columbia’s Decker Boulevard INTERVIEW AND DESIGN CHLOE HUI PENAFLOR PHOTO LAURA LUCIVERO TRANSCRIPTION AND TRANSLATION HYOJUNG CHOI AND CHLOE HUI PENAFLOR VIDEO HENRY WOOD SOUND KIEHLEN KELLER AND SEAN WRIGHT

자기소개를 부탁드립니다.

Please introduce yourselves.

김애심: 안녕하세요! 저는 한국에서 온 김애심이라고 하고요. 미국에 온 지는 지금 7년정도 된 것 같아요.

Aesim Kim: Hello! My name is Aesim Kim and I am from Korea. I think it has been about seven years since I came to the United States.

강동우: 예, 저는 강동우라고 하고요. 어, 김애심씨 남편입니다.

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Dongwoo Kang: Yes, I am Dongwoo Kang. Ah, I am Mrs. Aesim Kim’s husband.

강동우 Dongwoo Kang

Q1. 처음으로 콜럼비아에 오신 것은 어땠습니까? 김애심: 저희는 미국에서의 생활을 안 해봤기 때문에 다들 미국 그러면 굉장한 빅 빌딩이라던가 시티 (city) 같은, 그런 것만 생각을 하잖아요? 저희는 콜럼비아 왔는데 저희가 한국에서 살았던 곳이 시골틱 하면서 도시가 같이 융합되어 있는 그런 도시에서 살았었거든요. 근데... 콜럼비아에 딱 왔는데 그런 비슷한 환경인 거예요. 여기도 콜럼비아 시내는 도시 같지만 나오면 또 시골 같잖아요. 그래서 저는 그런 분위기가 좋았는데 저희 아이들은 너무 시골이라고 처음에 싫어하긴 했어요. 처음에. 그렇지만 저희에게는 선택권은 없었어요. 왜냐면 저희를 스폰해줬던 공장이, 치킨팜이, 콜롬비아에 있었기 때문에 저희가 콜럼비아에 올 수밖에 없었는데 저는 만족했어요. 콜럼비아라는 곳을. 저는 자연적인 걸 좋아하거든요. 그래서 저는 만족했어요. 강동우: 처음 도착했을때는 한국에 있는 자연환경과 거의 비슷했고, 그리고, 뭐, 하늘이 되게 파랬어요. 그게 무슨 뜻이냐면, 어, 한국은 되게 이제 미세먼지 때문에, 하늘, 파란 하늘을 볼 수가 없는데, 미국 공항에 도착하고 그리고 또 콜럼비아 와서 파란 하늘을 보고 너무 놀랐었고. 그리고 밤에 너무 큰 별을 보고 놀랐어요. 별을 요즘 볼 수 가 없거든요 한국은. 그래서 그 자연 환경이 되게 다른 것에 대해서 그리고 깨끗한 것에 대해서 되게 놀랐습니다.

김애심 Aesim Kim

Q1. What was it like when you first came to Columbia?

Kim: Because we have not experienced life in the U.S., everyone [when it comes to the U.S.] thinks of things like amazing big buildings or cities, right? We came to Columbia — in Korea, we lived in a city where the countryside and the city are fused together, but when we came to Columbia, it was a similar environment.

Downtown Columbia looks like a city, but when you go outside [of downtown], it is like a countryside. We liked that kind of atmosphere, but our kids did not like it at first because it was too rural. However, we did not have a choice — because the chicken farm factory that sponsored us was in Columbia, we had to come to Columbia. I was content — a place called Columbia.

I like natural things. So, I was content.

Kang: When we first arrived, the natural environment in Korea was quite similar, and, well, the sky was really blue.

What that means is, in Korea, due to fine dust pollution, you cannot see a blue sky, but when I arrived at the airport in the United States and came to Columbia, I was amazed to see a blue sky. And at night, I was amazed to see such big stars. You cannot see stars these days in Korea. I was really amazed by the different and clean natural environment.

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Q2. 콜럼비아 커뮤니티에 대해 어떤 점을 좋아하시나요? 김애심: 콜럼비아의 커뮤니티… 저희가 다른 여러 주들을 안 가봐서 잘 모르겠지만 저는 콜롬비아의 사람들이 너무 친절하다고 생각을 해요. 너무 nice 하게 대해주고 솔직히 저희가 동양인이다 보니까 어떻게 보면 흔히들 말하는 인종차별 같은 게 많잖아요. 근데 그런 것도 없이 너무 따뜻하게 대해주시고 그래서. 콜롬비아에 딱 왔는데 모든 사람들이 친절해서 저에게만 그런 건지는 모르겠지만 너무 친절해서 너무 좋았습니다.

Q2. What do you like about the Columbia community?

Kim: The Columbia community — I am not sure because I have not been to many other states, but I think people in Columbia are very kind. They treat us so nicely and honestly — as we are Asians, there could be a lot of racial discrimination, as people commonly say.

However, they are so warm and friendly. I just arrived in Columbia, so I am not sure if they are like this only to me, but they have been so kind and I really liked it.

Q3. What do you look forward to when opening the restaurant everyday?

Q3. 매일 식당을 오픈할 때 무엇을 기대하시나요? 김애심: 매일매일 저희는 여기 사우스캐롤라이나가 제가 알기로는 기독교라는 종교가 짙다고 들었었거든요. 근데 저희 또한 종교가 기독교다 보니까 매일 아침에 눈 떠서 출근할 때마다 그런 마음을 갖고 오죠. 저희 식당에 오시는 모든 분들은 드시고 나서 정말 하나님의 축복으로 아프지 않고, 탈 나지 않고. 그렇잖아요. 음식 먹고 탈 날 수 있고 그렇잖아요. 그래서 아침에 매일 그런 마음으로 그냥 맛있게 먹고 소화 잘하고 건강하게 행복한 하루가 돼서 일을 열심히 잘하셨으면 좋겠다. 그런 생각을 합니다. 강동우: 글쎄요. 여러가지가 있지만 일단은 저희가 한국 음식을 알린다는 것과 여러 손님들하고 영어로 말은 많이 못하지만 마음적으로 되게 여러가지가 통하는 것 같아요. 예를들면 친절함이나 나에 대해서도 많이 알려그러고 한국에 대해서도 얘기를 되게 많이 하고 또 제가 알려주기도 하고 그래서 그런점이 참 좋습니다 식당을 하면서.

Kim: Every day, we heard that South Carolina is a place where Christianity is a strong religion. But since we are also Christians, we wake up every morning and go to work with that mindset. We hope that everyone who comes to our restaurant can eat without getting sick or having any problems. You know, you can get sick or have problems after eating food. So, we hope that every morning, we can eat deliciously, digest well, and have a healthy and happy day, so that we can work hard and do well. That’s what we think.

Kang: I am not sure. Well, there are various things, but for now, we are trying to introduce Korean food and communicate with many guests in English, even though we may not speak it fluently. It feels like there are many things that connect us emotionally. For example, we talk a lot about kindness and also about myself, and we talk a lot about Korea. It’s really nice to have a restaurant and be able to do that.

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Q4. 콜럼비아 커뮤니티를 위해 어떤 종류의 식당이 되고 싶으세요? 김애심: 저희는 뭐 대부분 한국 음식이라고는 하지만 그래도 전통적인 한국 음식이 여기 미국분들의 입맛에 맞을지는 모르겠지만 조금은 변형이 된 음식이기는 하지만. 그래도 기본은 한국 음식을 기본으로 해서 음식을 하고 있는데. 돌솥비빔밥이며 좋아하시는 갈비, 불고기, 명절 때마다 모든 한국분들이 좋아하시는 것이니까요. 매운탕 같은 것도 괜찮으실 것 같고. 저희가 한국의 음식을 많이 고수하는 편이긴 한데 그래도 미국분들의 취향에 맞춰서 음식을 제공하고 있습니다. 강동우: 한국을 좀 알리고 싶고 그리고 한국 음식이 위대하고 그런게 아니라 누구나 다 먹을 수 있고 그리고 건강에도 좋다는 거를 많이 알리고 싶습니다.

Q4. What kind of restaurant do you want to be for the Columbia community?

Kim: We mostly serve Korean food here, but I am not sure if traditional Korean food will suit the taste of Americans. Although the dishes have been slightly modified, we still base our food on Korean cuisine.

We have dishes like stone pot bibimbap and popular choices like galbi, bulgogi and other dishes that all Koreans love, especially during the holidays. Spicy soups like maeuntang are also available. While we do stick to Korean food, we also provide dishes that cater to the preferences of Americans.

Kang: I want to promote Korea a little and also that Korean food is great, not just for anyone to eat, but also good for health — I want to promote that a lot.

Check out more photos on our website: https://www.gandbmagazine.com .

Kimchi Korean Restaurant is located at 1807 Decker Blvd. in Columbia, SC. Visit today!

Q5. 식당에서 하나의 매력포인트를 선택할 수 있다면, 어떤 것을 선택하시겠습니까?

Q5. If you could pick one charming point of the restaurant, what would it be?

김애심: 매력 포인트라 하면, 어, 저희 신랑이 웨이터를 하고 있잖아요. 근데 저희 신랑이, 솔직히 저희 부부가 영어를 잘 못해요. 그렇지만 오시는 손님과 친구 같은 편안함. 언제든지, 뭐, 필요한 게 있으면 사적인 필요함도 얘기할 수 있고. 그냥 가족적인 분위기? 저희는 그런 거를 원하고 있습니다. 너무 상업적인 그런 식당이 아닌, 그냥 편하게 얘기할 수 있는. 영어 못하지만 그래도 저희가 영어를 못한다고 해서 손님들이 거부감을 느끼거나 그러진 않으세요. 저희가 못하는 걸 알고 손님들이 더 도와주는 그런 입장이라서 저희는 가족 같은 분위기, 그런 식당이 되고 싶습니다.

Kim: When it comes to charming points, well, my husband is a waiter. But honestly, we do not speak English well. However, we provide a friendly atmosphere, like friends with the customers. Anytime, well, if there is anything needed, we can also talk about personal matters. Just a family-like atmosphere? We want that. Even though we cannot speak English, customers do not feel any aversion or anything like that. We are in a position where customers help us more because they know we cannot do it, so we want to become a restaurant with a family-like atmosphere.

강동우: 저희 식당의 매력 포인트는 일단은 다른 한국 음식점과 달리 술은 팔지 않아요. 술은 팔지 않기 때문에 조용하고 그리고 가족들이 와서 먹을 수 있는, 조용한 분위기에서 먹을 수 있는, 그런 식당이고.

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Kang: The main charming point of our restaurant is that, unlike other Korean restaurants, we do not sell alcohol. Because we do not sell alcohol, it is a quiet place where families can come and eat in a peaceful atmosphere.

Q6. 과거와 미래의 고객들에게 전하고 싶은 말이 있으시면, 여기에 말씀해주세요.

Q6. If there is something you would like to say to past and future customers, please say it here.

김애심: 과거의, 음… 예전에 오신 분들도 계실 거고 나중에 또 오실 분들도 계시겠지만 저희 김치 식당에 오셔서 마음에 드실 수도 있고 안 드실 수도 있는데 음. 모든분들에게 저는 마음이 안 상해서 갔으면 좋겠는데. 그렇잖아요. 뭘 시켰는데 내 taste(입맛)에 안 맞는 경우도 있잖아요. 그러면은 언제든지 말씀해 주시면 저희가 개선을 할 수 있는 그런, 네, 그런 개선해 나가는 식당이 되도록 하겠습니다.

Kim: [Customers] in the past — there may be people who have come before and there may be people who will come later, but when you come to our Kimchi Restaurant, you may like it or you may not. I hope that everyone who comes will not be upset. There are times when you order something, but it does not suit your taste.

In that case, please let us know anytime, so that we can become a restaurant that continuously improves.

강동우: 가족들과 부담없이 조용하게 먹을 수 있는 곳이니까 언제든지 찾아오세요. 감사합니다.

Kang: Please come anytime to a place where you can eat quietly, without any burden, with your family. Thank you.

Get to know more about the family behind Kimchi Korean Restaurant in their short documentary, “A Blue Sky”, only on the Garnet & Black YouTube.

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Interwoven

Web We Weave

AUTHOR AND STYLIST LINH TRAN PHOTO ALYSSA BLADZIK DESIGN CHLOE EHLERS AND KATLIN JEFFCOAT MODELS KAYLA BARRON, MARIAH CLARK AND NOLY TRAN

INTERWOVEN, a photo shoot that embodied the timeless allure of the Japanese folklore that binds kindred souls together. Draped in vivid crimson, these models, like the fabled lovers, found themselves connected by an intangible force that transcended time and distance. The scarlet threads intertwined their lives, whispering of unknown encounters that were far beyond a mere coincidence, creating a visual tale that resonates with hearts across cultures and generations.

This is not simply a legend that will continue to age beyond our lifetime, it is also a symbol of beauty and unity that is shared through destinies. It is a reminder that love, like these threads, eternally weaves its way into our lives despite our lowest and loneliest times.

A gentle reminder that we are not alone.

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White top: Zara Skirt: Sourced from model White top: Edikted White skirt: Brandy Melville White top: Shein White pants: American Eagle

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Shirt: H&M Skirt: Boutique in Vietnam Bows: Urban Outfitters Black top: Shein Bottoms: Goodwill Dress: Target

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COMES TO USC AUTHOR BRIANNA RAO DESIGN CHLOE EHLERS

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wo USC students tangled in the art of crocheting are hoping to hook other students onto the craft.

Brooke Farley and Kaitlyn Clark are in the process of starting a crocheting club.

Not Your Grandma’s Crochet Circle will help fill a need on campus.

“Whenever I tell older generations, they’re always so surprised to hear that I’m crocheting because I’m a college student,” Farley said. “And that’s not what college students normally do. But I think the reality is, a lot of college students are crocheting. They want to learn how to do it. They’re interested in the craft.”

The cofounders of Not Your Grandma’s Crochet Circle both agreed that they cannot escape the crochet; it’s on their Instagram Explore Feed and their TikTok For You page.

According to Life and Style, there were more than 15.5 billion views on videos tagged under ‘crochet’ on TikTok in February 2023. As of September 2023, that hashtag is up to 24.2 billion views. These hashtags are the work of crochet content creators, mostly comprised of Gen Z females. Crochet content creators have used TikTok and YouTube to share their creations, give tips to improve technique and even teach others how to crochet.

Before we can talk about where crochet is now, we must rewind to crochet’s last iteration.

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The 1960s began crochet’s journey to fame. During this decade, fashion revolved around crochet everything.

Think hats, sweaters, cardigans, vests, collars, bags, you name it, someone made it.

By the 1970s, the modern-day granny square was born and took the spotlight among many fashion brands.

Amber Killian, a guest writer of HanJan Crochet, described the granny square. Killian wrote, “They also allow you to play with different combinations of colours and stitches without investing a lot of time (and yarn!) into a project only to find you hate a stitch when worked in a certain colour or despise a particular colour combination.”

This allowed granny squares to be the focal design point for many crochet garments during the 1970s. And then suddenly crocheting started to slip further and further into the backs of people’s closets. Fashion evolved and the once-beloved hobby lost its moment in the spotlight. That is, until 2020.

One of the reasons for the recent rise in crocheting draws from the COVID-19 pandemic.

“Statistically, Gen Z struggles more than any generation with mental health problems, the most common being anxiety,” Holly Hughes of TheSocialTalks wrote. “This was revealed in 2022, when Harmony found that nine out of ten young people diagnosed with a mental health condition suffer from anxiety.”

A study by Henry Ford Health in March 2022 found that crocheting helps slow the nervous system and reduce the number of stress hormones

released. This is because the brain focuses on the activity instead of one’s thoughts.

“Having a creative way of decompressing has always been important to me and that need has definitely been amplified since coming to college,” USC student Izzy Ha said.

“I’m excited to share my creative outlet with other students!”

The Washington Post revealed that Gen Z was the most stressed by coronavirus — compared to millennials and Gen X. Nearly half of those in the Gen Z age group said the pandemic had made their schooling and career aspirations tougher, according to a survey conducted by the Associated Press-NORC Center for Public Affairs Research with funding from MTV. The survey’s results added weight to earlier studies that have reported that younger Americans, especially those belonging to Gen Z, are experiencing isolation, loneliness and stress from the coronavirus pandemic.

To help feed off the loneliness while stuck at home, many Gen Z started investing in crochet hooks, needles, and their mental health and began their crochet journey.

There was a 140 percent increase in the number of crocheters during the COVID-19 pandemic, GQ reported.

Clark, like many Gen Z crocheters, learned how to crochet by watching YouTube videos during the pandemic.

But, the girls recognize this style of learning is not fit for everyone.

“Through creating a crochet club, I think we would make crocheting even more accessible to people,” Farley said.

And the students agree.

“I want to join the crochet club because it will be a wonderful resource for crocheting, which I’ve been wanting to get into for so long but felt too overwhelmed to begin,” USC student Polly Tappan said. “So, having a club with people who can teach and provide supplies is going to be the perfect starting point to a new hobby.”

Farley and Clark will be among a crew of veteran crocheters who will guide newer crocheters.

The club is open to all skill levels; you do not need any prior fiber art experience to join.

Club meetings will focus on expanding your crochet toolbox by introducing you to the beginner fundamental crochet stitches and then challenging you to take on more advanced projects like creating your own granny square or pattern.

You will also have the chance to crochet service projects for those in need in the Columbia community including mats for the homeless.

You can also learn more

about fiber arts through USC. The Honors College offers a knitting and philosophy class aimed at teaching students how geography, economics and the roles of women as these relate to knitting as students learn to knit.

“After taking a USC course about knitting, I became so curious about crafting, especially through knitting and crochet,” Irene Drikakis said. “It became an incredible outlet to take my mind off of the business of the day and make something special. I’m excited to continue this new hobby and see how it can grow.”

Not Your Grandma’s Crochet Circle plans to host their first meeting in October on the Horseshoe.

“This is an open space. Come over and ask what we’re doing,” Farley said.

Bring your curiosity, crochet hooks and yarn. Do not fret if you do not own these supplies yet. The club founders said they will have extra hooks and balls for you to use.

For more details, check out the club’s profile on Garnet Gate.

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Unknown maker. Face Vessel. c. 1855-1865.

Alkaline glazed stoneware. Collection of the South Carolina State Museum.

BE SURPRISED The South Carolina State Museum features four floors of exhibitions on the history, art, and culture of the state. Visit today and be surprised by objects like this Edgefield face vessel or explore the collection online!

SCMUSEUM.ORG | 301 GERVAIS STREET

NIGHT BREEZE

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he subject was meant to be faceless, viewed in a dissociative state, contrasted by a field with stars, meaning there was infinitely more far beyond the subject. I was hoping that, since the person was removed from the piece in some way, any viewer could see themselves in the picture. I believe it fits with the theme because anyone can see themself in the piece while the subject is shrouded in some form of mystery, highlighting a persons’ complexity while the background shows a vast solitude.

STUDENT SUBMISSION GABRIEL BLACKWELL DESIGN ALEXANDRA TUDOR

S

ometimes I see something seemingly innocent and boring but it catches my eye. In this case, it was this pinecone.

You can see everybody standing in a circle in the background, talking to each other but not really perceiving the little things around them. And while this pinecone may be alone on the ground, it is not lonely because it is surrounded by others. Likewise, we can get so caught up in our lives that we forget our individuality. It is important to recognize that we are unique, just like this pinecone, but that we are certainly not alone.

STUDENT SUBMISSION JOHN KEHDY

LONELY, NOT ALONE

an original poem AUTHOR ELLA LUKOWIAK DESIGN ALEXANDRA ADLER

she burned so bright the world collapsed, or rather, the girl did shedding the skin of shame paring away the fuck-ups and fumbles, the tickle of an apology as it climbs up her throat, the subtle press of the punisher’s reminder that who she ought to be does not stumble into her becoming but marches into arms that will hold her when she falls it is inevitable, they warn their ghosts lace themselves through her trembling fingers that strip her body of the linens marked

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by centuries of lives that aren’t hers she peels them off like old wallpaper until her body is bare and cracked and all her own she plants her feet into the earth baring her Self to the full moon’s embrace its hands stretch out to wrap the girl in light she closes her eyes, watching waves of rose dance across the emptiness she floats on nothing but the steady whisper of moonlight it is inevitable, she warns as the world collapses around her, and her feet learn to wander the wild hills once again

This is Love.

Girlhood and love all wrapped in a bundle of pink ribbon and platonic soulmates.

AUTHOR GRACIE BELK DESIGN ALEXANDRA ADLER

YOU’RE IN THE BATHROOM with the loves of your life: your best girlfriends.

Maybe you met a few weeks ago or maybe a lifetime ago; either way, you’re here now. Standing in front of the overcrowded mirror, trying to get your eyeliner just right. In the back of the room, your friends debate over which outfit to wear and you offer to share a pink top that would fit the Barbie theme perfectly. Someone’s party playlist plays over the TV speaker that is definitely annoying your neighbor. Steam floats through the air from someone’s curling iron as sweet perfume laces the air with the scent of vanilla. Hairspray coats everything, but it’s worth it for a flawless ‘90s blowout. One friend is locked away trying to finish her homework before it’s time to go. Compliments are thrown around the room, fostering a safe space of love and appreciation. In this space of girls and makeup, you’re safe.

This is love.

In these sacred spaces, you ask­your friends for validation and comfort. “Is this skirt cute, or should I change?” or “Eyeliner, or no eyeliner?”

Every mirror picture only makes everyone’s

confidence grow. Digital and film cameras capture every moment of group photos and sassy selfies, leaving everyone to race in the morning to see who can post the first photo dump to their Instagram.

Girlhood is laughing and making jokes that only your special group can understand, even if it leaves a morning of cleaning up clothes, shoes and makeup in its wake. It’s the more grown-up version of a middleschool sleepover, staring at the mirror playing Bloody Mary, but now instead of being scared of the reflection, you gaze into it with the surrounding love of your friends.

This is girlhood.

You’re walking in a pack to the nearest bar or party aware of everything, even the slightest sound of footsteps. Someone is looking behind the group out of habit to watch for any dangerous figures. You’ve already established your plan for who is going to drive later, ensuring no one goes home alone. All locations are shared, and phones are charged before the night begins. The night out starts with crowding in someone’s room

and spending time together, but once you leave that space, the dangers of the world become real again.

This is girlhood.

You’re taking a quick trip to the crowded Starbucks for the first pumpkin spice latte of the season, more than ready to romanticize fall and plan your first sweater-weather outfit. You are dragging each one of your friends along for hot girl walk before class, the time where you get to discuss anything and everything you want. This is the time before classes or work that make you begin to worry about this woman you should be.

The woman everyone is telling you to be.

This is girlhood.

Inside the safe haven of cute clothes and your best friends, the pressure of appearing perfect on social media and fitting into the male gaze, all the while being a total girlboss, is taken away. None of these girls are here to judge you or make a predatory flirtatious move; they are there for the shared experience and the comfort of friendship. You are free to be whoever you want, surrounded by the people you love most and who will keep you safe.

This is girlhood.

This is love.

AUTHOR AND STYLIST TAMMY NGUYEN PHOTO HANNAH FLINT DESIGN LILY FERGUSON AND MEGAN WOOTERS MODELS RICKY FRICK, ANDREZ GONZALEZ AND ANDREA PIKUL

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f you happened to visit your local theater in late July or early August, chances are you likely witnessed countless individuals dressed in head-to-toe pink regalia and sparkling attire, all in anticipation of “Barbie”, the 2023 blockbuster film directed by Greta Gerwig. Although the movie presents itself as a spirited and playful cinematic experience, it delves into significant issues confronting women, including misogyny and patriarchal norms. These themes are carefully braided into the narrative, fostering a profound sense of solidarity even amongst strangers, as they are woven together by their understanding of what it means to

navigate society as women. Though is this sense of camaraderie shared amongst all?

Navigating the intricate landscape of gender identity and authenticity can be a deeply complex journey for many, particularly for transgender women, gender-fluid individuals and those who have grappled with expressing their femininity authentically. In this setting where cisgender women unite over shared experiences, the anticipated sense of unity may paradoxically cultivate profound isolation as well.

This a very substantial reality for many transgender women who navigate the complexities of transitioning, all while GARNET & BLACK | 63

shouldering the enduring impacts of their trauma surrounding their assigned sex at birth and attempting to assimilate into a world they were not initially part of amplifies this feeling of imposter syndrome.

The purpose of this shoot is to encapsulate the intricate tapestry of gains and losses intertwined within the complexities of girlhood across diverse gender spectrums. It seeks to shed light on the emotional experiences faced by women of all backgrounds and identities, emphasizing the need for empathy and appreciation of the unique paths each individual takes in their pursuit of authentic self expression.

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All clothes are sourced from Sid and Nancy and Revente.

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INTERNAL GAZE STUDENT SUBMISSION FATIMA JATOI DESIGN ALEXANDRA TUDOR

My kaleidoscopic heart lies in the midst of the dark as if it’s constantly torn apart by who I am and who you see I’m blinded by your blank stare as I hide behind glass window panes I’m an empty silhouette in your eyes deconstructed by your mind But there’s far more beyond the bounds of tunnel vision and contorted depictions and I know you too have internal conflictions They lie buried in the crevices of your heart and tug at the corners of your mind Though our gaze doesn’t go past the shell of another We won’t dare peer into the soul for we’re held back by fear to surpass what we know You cast your judgment as I walk by I feel it burning on my skin

and penetrating within I’m just a painted image on the canvas your mind holds but I’m afraid you got all the colors wrong and the brush strokes are out of place You don’t know the story behind the face And I won’t lie, I too am at fault It’s in our veins to mistake one skewed flaw of another and make it who they are But I think history keeps repeating on and on and it’s time for change to take charge So let’s make a promise from today and forevermore to see with our hearts instead of our eyes so we can truly be mesmerized by the vitality our spirits hold