When we started making this issue I was overwhelmed with how we were gonna make this work due to COVID-19. Knowing weâ&#x20AC;&#x2122;d be unable to stick to our normal creative process was difficult at
first. However, once I stopped viewing this issue as a challenge and instead an opportunity to create in a new way - the ball started
rolling fast. So thank you to all of the creatives who made this issue possible and for your flexibility. We really made things work and together put together an incredible body of work.
On the other end of things, I want to take a moment to recognize my
tremendous privilege and position I get to have in our society. I am a white woman who runs an amazing platform. Using this platform
for good, and giving a voice to marginalized communities has never
been an afterthought. The beauty of the creative community that
Luna has found itself part of is the inclusivity and diversity. I am so
thankful that we are able to come together to create and support one another, and help one another rise up and grow.
The resilience and creativity Iâ&#x20AC;&#x2122;ve seen the past few months has been
really inspiring. I have tremendous hope for our generation and for what we will make our reality. Let us continue to move forward and move up together!
Some Tunes For You Maria Isabel & Yeek - Where Does The Love Go?
Noah Cyrus - I Got So High That I Saw Jesus
Chloe x Halle - ROYL
Lady Gaga - Chromatica II
The 1975 - Tonight (I Wish I Was Your Boy)
Jenevieve - Baby Powder
Theophilus London - Whiplash (Feat. Tame
Tkay Maidza - Shook
Khruangbin - So We Won’t Forget
Steely Dan - Reelin’ In The Years
Orion Sun - Lightning
Kari Faux - Supplier
Kota the Friend - Everything
Spencer. - Hold It Down
Arlo Parks - Black Dog
JPEGMAFIA - BALD!
Mk.gee - Isn’t It So Convenient
Yellow Days - Love Is Everywhere
Oliver Macolm - Kevin
Deante’ Hitchcock - Growing Up/Mother God
boy pablo - hey girl
Remi Wolf - Photo ID
Url - Bedroom Floor
La Roux, Tyler, The Creator - Automatic Driver
Chloe Gallardo - Fool’s Keeper
LANY - good guys
Kid Bloom - Wounded/Surrounded
KennyHoopla - plastic door//
Dijon - alley-oop
Simrah Farrukh Story By Martina Taylor | P hotos By Simrah Farrukh | Design By Jas Calcitas TURNING THE IDEA OF REPRESENTATION ON ITS HEAD, SIMRAH FARRUKH IS A NAME TO KNOW. The San Francisco based photographer’s work showcases the femininity, elegance and
strength of women, especially South Asian women like herself. Simrah Farrukh creates powerful images, each with a genuine intention. “My aim is for people to see themselves in art and feel empowered,” she explained. “To be a woman is to be powerful.”
Farrukh, a recent graduate of Loyola Marymount University, has not always seen photography as a motivator for change. Her first roll of film, taken on the same film camera that captured her childhood, is still undeveloped to this day. The craft remained her side project until college, where it blossomed into a passion and then a career.
Most, if not all, of the models Farrukh employs are South Asian, and this is not by accident.
“Representation in the creative community, at least here in America where it lacks, is important because the Art industry has been controlled by mostly White elitists for a long
time,” she explained. As an artist, Farrukh’s goal is to “be able to create photos that act as a form of representation whether they are wearing traditional outfits or not.”
Her photos are more than token representation, instead they’re pictures with a purpose.
She’s created work about a variety of topics: the relationships between mothers and daughters, South Asian expectations of femininity and masculinity, and queer relationships, to name a few.
Instances of cultural appropriation by brands have motivated Farrukh to champion the need for greater support of artwork and media from minority communities. “We need to be able to control our own culture, stories and narratives when told through fashion, art, TV or film.”
Some ways the photographer suggests doing this involve asking community members how you can help, and providing them with the space and opportunities to thrive.
Farrukh’s vision and ability to relate it to the viewer may be her superpower, but it’s taken her time to perfect it. The advice to just keep trying may be often repeated, but Farrukh ensures
that there’s merit to it. “The more you shoot, the more you find patterns and recurring elements in your photos,” and eventually you’ll find your unique look.
â&#x20AC;&#x153;Representation in the creative community, at least here in America where it lacks,
is important because the Art industry has been controlled by mostly White elitists for a long timeâ&#x20AC;? 7
It was during this constant evolution that Farrukh found her connection with film photography. Shooting digitally is pretty dependable for getting a good shot, given one knows what they’re doing, but film is more like one big, beautiful gamble. Farrukh often uses both, but favors film. “Film
photography has extra layers to it compared to digital photography. I
love being able to scan my own film and color grading it straight from
the negative...“It’s an art form in itself to produce a physical image— almost like you’re creating a sculpture.”
Along with constantly shooting and improving, college has been instrumental for the photographer. Attending Loyola Marymount
allowed her to explore a variety of subjects aside from art, and the resources and opportunities this provided were invaluable. A job at the school’s professional art gallery led her to her first solo exhibition at their other gallery. The artist fondly remembers spending seven hours
a day scanning her negatives in the high quality film scanner at the school. “College gave me all the resources and opportunities to build a foundation as an artist,” she notes.
Opportunities are useless without inspiration, but luckily Farrukh has plenty of that. She cited Adrienne Raquel, Dayanita Singh and especially
Tyler Mitchell as some of her muses. “I think a lot of young photographers right now look up to Tyler Mitchell because he falls within the same
generation as us. We all grew up with the internet and have had a ton of profound colored artist’s to look up to, but he has to be one of the firsts of our generation to accomplish what we all dream of.”
Along with fellow photographers, Farrukh has found inspiration in movies, especially Barry Jenkins’ screenplay book for the movie Moonlight. “The way he uses composition and colors to convey feelings and emotions has been impactful on the way I look at art,” she shares.
Artists and their art are constantly evolving, and Farrukh is no exception.
She hopes to dive into fashion and editorial inspired shoots. In a 180 from typical Eurocentric beauty standards, Farrukh explains that “fashion is
on the rise to inclusivity as both a model and a producer. There’s space for everyone in all these industries, you just have to figure out how to claim it.”
It’s clear Farrukh is going places, metaphorically if not physically. “Being at home [during quarantine] has been a test of my creativity,” she told Luna. Farrukh has become her own subject, learning how to modify film
photography for self portraits, but the challenge has proven fruitful. “By being confined, I’m able to think outside the box and create work within limits.”
A pandemic or not, Farrukh is certainly one to watch. She’s not just
making a name for herself, she’s creating a legacy. We’re just lucky we get to watch.
Photos By Athena Merry, Design By Cassiel Arcilla
P hotos Provided By Kamilla Varga| Design By Long Nyugen | Interview BySophie Gragg
CRAFTING AN IMAGE THAT CAPTURES YOU EVERY TIME, KAMILLA VARGA HIGHLIGHTS THE BEAUTY AND POWER OF WOMEN THROUGH HER COLLAGES.
Filled with color and often radiating an etherial energy, Varga’s collages bring together elements of nature and sensual portraits of women. Finding a love for collaging and simply pursing it for fun, Varga began sharing her work and quickly found a supportive audience online. Tapping into inspiration from just about everything, Varga keeps her creative process authentic and never forces herself to create. Learn more about her collaging journey, the role of social media in her career and more below.
LUNA: What role has Instagram and Tumblr played in your career?
LUNA: You have an incredible portfolio of collages already, how did you journey with collages begin?
LUNA: Are there any individuals or artists that have shaped you as an artist?
VARGA: I always knew I wanted to do something creative when I grew up. Back in high school, I spent a lot of time taking photos of my friends and then manipulating the photos. To be honest, I had no idea what I was doing but I loved it. After high school, I decided to move to Budapest to study photography. I discovered the collage technique when I was 19. After doing some research, I grabbed a pair of scissors, a few magazines, and a clear nail polish (I used it as glue) and created my first analog collage. In 2016, I decided to give it a chance and created an Instagram account to share my work with the world!
VARGA: I think what shaped me most as an atrist is life and experiences, and how I have learnt to channel my emotions and use them for my art. I always felt as a woman I have to act, look, dress or speak a certain way. A way that is generally accepted by society, and if I don’t, people would shame me or tell me that real women don’t act that way. I fi nally know that I don’t have to feel bad or apologize for being my true and authentic self. It took me a few years to realize that it does not matter what other people think or say. What matters most is that we are proud of what we are becoming, what we achieve and to love ourselves despite what others think. My goal is to celebrate women with my art. Women who are not afraid to share their true stories or true selves, who don’t want to fit in, who are not afraid to speak their minds, strong enough to hug their insecurities. And the ones who support and encourage one another to be honest and real.
LUNA: Though centering around woman and femininity, each piece of yours definitely has a specific theme and color palette. What is the creative process like for creating your work and going in a specific direction? VARGA: My main sources of inspiration are emotions, thoughts, dreams, music, experiences and real-life events. I almost always have music on and a piece of paper around me to write down ideas and thoughts. I look through these notes while listening to music to gather some inspiration. Most of the time it works, but there are days when I just can’t make anything that I like. That’s when I know I have to go for a walk or do something that takes my mind off of creating. LUNA: Is there a theme or color scheme you’ve been drawn to lately? VARGA: I have been loving pinks, oranges and pastels lately.
VARGA: Both platforms helped me reach people and become a full time artist. I used to spend hours just trying to fi gure out how I could quit my 9-5 and become my own boss and to actually make a living out of my art. It has not been easy but it was defi nately worth the long nights working on collabs to promote my work.
LUNA: Are there any other creative mediums you’d like to explore? VARGA: I have studied photography so I would love to blend the two mediums together and start using my own photos for the collages. LUNA: Any upcoming goals for the rest of this year you’d like to share? VARGA: My goal for this year is to lauch my website, start selling prints, merch and stickers.
ISABELLA PREISZ Words By Isabella Preisz | Design By Sophie Gragg | P hotos By Sarah Hesky
ELEGANT WORDS THAT RADIATE POWER, ISABELLA PREISZ ARTICULATES HER INTIMATE MOMENTS AND THOUGHTS WITH GRACE. With the release of her latest book, hours inside out, Preisz
For me, writing poetry is about existing between words.
means to exist and occupy one’s body. With such careful
surrounds us and how our memories are triggered by that.
explores numerous moments and thoughts on what it
and articulate intention, she is able to share her moments and experiences in an intimate and special way with the reader. The Luna Collective previously had the pleasure of
featuring Preisz as the cover feature for our first magazine back in February 2018. Preisz has grown exponentially as an individual and artist since then, with hours inside out
showcasing her important evolution. Read below for words from Preisz on her latest book, hours inside out.
I want to say that there was an exact moment while writing hours inside out where I felt at peace with the
I don’t think linear depictions of time are realistic. How
many memories do you recall throughout the day? Or rather, in the morning while you are drinking your coffee?
Because I am telling my story through poetry — a form that mirrors the experience of the psyche. A form that calls on the occasional defiance of language to mirror the mind in
remembrance. I think that’s why it’s important to tell stories through poetry. Because the form offers such a profound
ability to innovate and image. There is no limit to what the poet can do.
process. But that feels too simplistic, too clean. Writing this
The biggest difference between writing this second book,
everything out of my drawers, cabinets, and closet — and
didn’t even know how to look at my journal without feeling
poetry collection was messy. Messy meaning I had to take sit in the middle of my room. And the scariest thing about the process was that I didn’t even feel what I was writing about until I was done.
Writing my first collection — 7,300 days — I created a linear recollection of my life. 20 years displayed through short
stanzas and illustrations. I’m not saying that process wasn’t difficult in its own way. But while putting together hours inside out, I had to break down my understanding of time, memory, and reality. Because I felt like the first book had
ended with such a neat bow. I thought I had gotten through the worst of my anxiety. I thought I was done working through a lot of the struggles I grappled with in the first
and the first, was the sheer emotion of it all. Some days, I trapped. I’ve never felt so claustrophobic while creating.
Like falling asleep and waking up inside my own echo chamber. Mummified by dreams. Haunted by memories.
The hardest point in the process was sitting inside the
manuscript towards the end of writing it during the editing process. As I got closer to the publishing date, I started to feel anxious about what my parents would think about the topics I was exploring: my sexuality, shame, and my
experience with sexual violence. All through visceral images and colors. I was not going to let that stop me, though.
Because that would’ve been fear making decisions for me. I did not want to choose silence anymore.
collection. In so many ways, I was just at the beginning.
The poems in hours inside out have a lot of internal spaces —
Hours inside out takes the shape of one year. The sections
manuscript. I chose to explore this style because I wanted
are broken up by seasons — starting with winter and ending with autumn. Contained within that year is all the time that
has passed since my last collection, as well as memories from different points in my life.
Liminally observing and experiencing the world that
called caesuras. I would say that is my favorite aspect of this the form of the poems to take the shape of the themes I was
exploring — the memories I was calling on. Because sexual assault makes the survior feel so distant from themselves… like they are living two separate identities.
I quoted Clarise Lispector in the beginning of the book: “All of me is writing to all you and I feel the taste of being and the taste-of-
you is as abstract as the moment.” This quote works in two ways.
In writing this collection, I felt like I was writing to my public self — the version of me that everyone around me could see… the version of me that had not felt the weight of her emotions. I also
feel like this collection was my way of talking to those I loved about my experience while still in a state of dissociation. I was so numb,
I didn’t know how else to get through to them. The caesuras push the poems away from themselves — as if they are trying to run from their own structure, as if they are suffocated by their own
existence. The space in pacing also allowed me to play around with jumping from memory to memory with the lack of punctuation. I wanted the poems to be like waves of water, no commas or periods holding them so tightly to the page.
When I showed the collection to my Dad, we both cried in the
doorway of his closet. There is a poem in the book called “dear esben.” It’s dedicated to my Uncle Esben who passed from
leukemia before I was born. I wrote it to better understand what my uncle’s life was like. To try and touch a force that I felt, but
had never touched. I was so afraid to share the collection with him — for fear that what I was going through, how I was processing my relationship with him, would offend him in some way. In that
moment, he held my face and told me that my expressions of myself didn’t need to be edited to achieve his approval. He loved
me regardless of how I explored my truth. I believe that propensity
to edit myself to achieve validation and recognition is a propensity that a lot of femme-identifying artists face. The desire to fit into a mold so that they can be heard, so that their pain can be
confirmed. This type of creating is performative and dangerous. It asks the writer to choose what they can and cannot say based on
what the world around them thinks is acceptable. My biggest piece
of advice to young femme writers — who do not know if their work
will be accepted in the poetry space — would be to defy what it
is you think you have to be in order to be seen. There is space for you, no matter what you are writing. Do not let popular narratives, usually written by cis white men, keep you from exploring your complexity and plurality. Write the world you imagine and don’t stop until you’re done.
In my first book, I thought I had to end on a clean note so that my ideas and thoughts would be taken seriously. I thought I had
to ease the discomfort and pain of my narrative. And that’s the
biggest take away from hours inside out. It begins in shame and
leaves off on the disowning of it. But, in a lot of ways, it does not signify an end. This is how I tell you that I do not believe that there
is an end to healing or working towards forgiveness. We must commit to understanding our own complexity , and the complexity of those we love, every day. With love and patience.
Salim Garcia / Atlanta
HOLOGRAPHY A Project By Salim Garcia.
June / Switzerland
Pin Chun / Taiwan
Audrey Gretz / Tokyo
Audrey Gretz / Tokyo
June / Switzerland
Salim Garcia / Atlanta
Sham / Atlanta
Story By Melissa Rose Miller |P hotos By Felice | Design By Khristine Le THROUGH AN AUTHENTIC AND CINEMATIC STYLE, FELICE CAPTURES HER SUBJECTS LIKE CHARACTERS The Toronto based photographer first discovered her passion for photography through self-portraits. This not only served as a creative outlet of self-expression, but it also enriched her self-confidence. Further along her journey, Trinidad became affluent behind the camera. Through the connectivity of Instagram, she gained a deeper understanding of photography and was largely inspired by other creatives through the power of conversing and sharpening one another. Trinidad had the opportunity to expand on her ideas with other creatives through Instagram as she brought her ideas to life, thus developing her own style as a photographer. She now has a very impressive and versatile portfolio including brand work and editorial projects. Trinidad has shot an Adidas and Frankie Collective Collab for Hypebae, The Beaches for CBC Radio, Vitality’s Fall/Winter Campaign for 2019, and much more. Although Trinidad appreciates digital photography, she is more drawn to analog through the essence of its more conscious nature. While digital photography allows you to shoot indefinitely, thus giving you endless chances to capture your desired shot, film photography is much more deliberate. In such a fast moving world, film photography forces you to slow down and think, to be mindful of each shot and treat it with care. Trinidad acknowledges the “advantages in having infinite frames, but I find more beauty in film photography and it’s finity, as it truly makes you value each shot you take.” When it comes to Trinidad’s photography, she aims to capture her subjects in light of their true authenticity. Every photo shoot is an opportunity to highlight her subjects in their natural element. Trinidad takes a unique approach to her photography as she enhances the individuality and originality in each of her subjects. She not only wants to capture
“just their beauty, but their personality, their quirks, and all
Aside from photography, Felice also gains her inspiration by
the little things that make them them to be represented in
studying angles and colour theory in films. She translates what
the photos.” Felice is also considerate towards her subjects in
she observes in films by adapting the influential framework of
the artistic process, as she wants them to feel that the photos
cinematography to her own photography. Felice’s work oftentimes
resonate with who they are as well.
exhibits a play with light and colors, as she is very drawn to the visual and psychological effects of colour theory. She awes the
Some of Felice’s favorite photographers include Petra Collins,
way that certain colors evoke emotion as it is such a wonder that
Daria Kobayashi Ritch, and Leoor Wild. She admires their
even by just looking at a photo, it projects a dominant feeling.
distinctive eye for capturing their subjects in such an artistic,
Just as scenes from films have a particular lighting to suggest the
and oftentimes abstract manner. These photographers pull out
mood, Felice strives to mirror such arousals with her photography.
the beauty and vulnerability in their subjects as it speaks through
“My favourite compliment to receive is when people describe
their photos. However, what influences Felice the most, is the
my photos as “cinematic”because it signifies that firstly, it looks
opportunity to wake up and play her guitar every morning, as
like something you’d see in a movie, and secondly, that one still
music nourishes the soul and sparks her creativity.
photo has so much story and meaning embedded in it.” Felice ’s portfolio exhibits a wide array of works as she is well
versed with photographing for brands, editorials and campaigns.
to escape the deranged realities. Music is the outlet that brings
Although she loves working on various projects, her particular
her to an elevated state of mind, where all tracks of time don’t
area of interest resides in creating visuals for musical creatives.
Whether it’s a poster, cover art, or album promo, Felice believes that this avenue offers the most freedom for creative expression.
Despite all the craziness and confusion due to COVID-19, Felice
In the future, Felice aspires to work in the movie industry. She
is hopeful for the year of 2020 and what the future brings. Some
is hopeful that one day she can be on set capturing the stills of
goals for this year and onwards include collaborating and working
with musical creatives. Blending her two passions together, this type of collaboration remains very near and dear to her heart.
During these strange times, Felice escapes from the chaos
Furthermore, Felice also shares with us a secret goal of hers;
and indulges in self love activities. She has taken a break from
she wants to have the opportunity of playing guitar on stage for
photography in order to rejuvenate, however, she knows that she
someone’s performance one day— and maybe you’ll be in the
will return back to shooting photos when the world opens up
audience cheering her on too.
again. With that being said,Felice has occupied herself fruitfully as she engages with music. Felice finds that playing guitar and arranging song covers is the purest, most therapeutic way for her
Story By Sophie Gragg | P hotos By Carianne Older & Miranda Harrison |Design By Olivia Boryczewski 46
REDEFINING WHAT IT MEANS TO BE A DYNAMIC DUO - MIRANDA HARRISON AND CARIANNE OLDER ARE MAKING THEIR MARK ON THE INDUSTRY AND YOU WON’T BE ABLE TO MISS IT. Older, serving as everything from the photographer to
HARRISON: I just knew after looking at both of the
seem to check all the boxes for what it means to be an
interested in, and our passions (both being in musical
the creative director and Harrison the model to musician, artist. The powerful ladies serve as trailblazers for many
and never seem to stop working. Taking pride in always being on the grind, the two continue to push one another
theater growing up) it was just a really good fit, both as friends and as creatives.
forward, often serving as one another’s coworkers.
LUNA: That sounds really organic too. I feel like both
Despite COVID-19 slowing many aspects of the world
and it seems very natural - it’s not like one of you was
down, Older and Harrison have been fortunate to be
able to continue to create in their home studio. Putting
their creativity to the test and truly showcasing their dedication to their crafts, the women have stuck to
their usual cycle of content - and somehow continue to
your styles and aesthetics mesh so well with one another ever trying to fit to the other. Now that you live together,
I’m sure makes things so much easier. How different do you think your working relationship would be if you weren’t living together?
up their game. Emphasizing the value of working with
HARRISON: I feel like beforehand it was difficult because
are carving away a space for themselves and fellow
day, and creative-wise, the ideas were just flowing. But
female creatives and their friends, Harrison and Older artists.
We had the pleasure of Older shooting the cover of one of our first issues back in 2018, and a lot has changed since then to say the least. Moving from New York to Los
Angeles and now living with Harrison, Older fortunately
introduced us to Harrison for this dream collaboration.
Talking about everything from the brand they’ve forged
we had mood boards that we were sending every other
the only difference was that we weren’t able to execute on a daily basis, and really kind of make a schedule around
that. So I feel like now we’ve made it so that we prioritize
that because we’re together. It would be a waste to not
create the things that we wanna create when we have it right here. But I feel like work-wise, we’ve always killed it - this has just leveled us up a little bit.
to Lady Gaga, we got to cover a lot of ground.
OLDER: Yeah, absolutely. We’re here and we’re able to
LUNA: For starters, because I don’t even know this, how
like, “Oh, okay, we got this in the mail yesterday, let’s
did you guys meet? Now you’re obviously such a little duo, so I’m very curious how that all started out.
OLDER: So, we met on Instagram, as you meet everyone. HARRISON: As you meet everyone these days. I think somebody here in LA shot with Carianne, and then I saw
her work, so I think I hit her up and we talked for like almost a year.
OLDER: Yeah. We were friends, friends online, for a year.
wake up in the morning and look at each other and be
shoot it.” Our turnaround time, creative-wise, has turned around to 24 to 48 hours now, just because we’re so excited.
LUNA: Which is crazy. When you guys are doing brand work, or any sort of collaborations, it’s pretty much an
instinct because you guys are right then and there, and you have one another. Obviously, Carianne you need a model, and Miranda, you need a photographer. That’s just the best deal.
We talked here and there, like we’re friends. Then the
HARRISON: Yeah, it is.
house to hang out and to shoot. We shot the first day
OLDER: It’s great.
second week that I was here, Miranda invited me to her
we hung out. We got dinner and we just knew - then we hung out every day after that.
work that we had both done, the things that we were
LUNA: Let’s take a second to talk about the shoot y’all
weeks before quarantine, which means our home is truly
doing self portraits, what elements did you know you
that space and time and place don’t have to affect your
did for this feature - fire! When we originally talked about wanted to incorporate?
creativity, but can fuel it.
OLDER: We knew we wanted to incorporate mirrors
LUNA: I love the shots with the picnic and grapes,
what concept we wanted to do and how we wanted to
yourselves through self portraits?
of some sort. We really thought long and hard about execute it. I’m honestly blown away by the outcome. I love what we created and how we created it. Ya know,
we wanted to showcase how you can still create a whole world inside from your bedroom (literally) when you are
our studio. We wanted to embody that and also show
they’re so regal. How do you like to portray / express
OLDER: Miranda thought of the looks/concepts/sets for this. Basically different 3 versions of ourselves.
suppose to be staying inside.
HARRISON: We play off of so many vintage and ethereal
HARRISON: What she said! We moved in together two
vibes, we wanted to make sure that was reflected in this
LUNA: Which look was your favorite to create for this
taking pictures of one another in your home, differ from
OLDER: Mine was the green Internet girl look. I loved the
OLDER: It honestly doesn’t! We love to do both, to the
off my wall right before we started and was determined
mesh together as one nowadays.
double mirror idea. I grabbed my good ole circle mirror to make something work with it. I’m obsessed with how
they came out. The double mirror Twilight Zone effect really worked out haha.
HARRISON: Yeah I definitely think our “Hot Girl” Moment was a fave. It was literally us just playing around
your more “professional” shoots, if at all?
extent that our professional shoots and our fun shoots
HARRISON: This felt no different than any other shoot. We love shooting each other and having the challenge
of conveying the space and set via the mirror was so fun to play with.
in my room, trying on cute outfits, rolling up- so fun.
LUNA: What role do you think you’ve played in each
LUNA: How does sort of creative process, where it’s
In terms of that professional role, how are you guys
other’s career, aside from being a friend and supporter? trying to move one another forward?
OLDER: We definitely support each other with every
together on the things as well, and have a group that is
out to us, and we wanna work with everyone. When a
endeavor. We message brands all day, or brands reach brand will reach out, Miranda’s the first person I think of,
so inclusive, and is so supportive of each other’s career
alway, unless they specify, “We’re looking for this type
LUNA: Yeah, I feel like that’s what’s so awesome across
each other like that and at this point, we are such a duo
one another up. People wanna work with their friends,
person, this type of shoot.” It’s so good to work with
that I think that our work speaks for ourself. The support is there, it’s clear that we wanna get each other a job and
we wanna get each other collabs so that we could move
a lot of fields right now - everyone’s just trying to bring
and the product is just always better because it’s these are people you fuck with.
forward together on a larger scale.
OLDER: Yeah, I’d say so for sure. We do definitely reach
HARRISON: We’re always thinking of each other. We just
day and age everyone’s just sadly trying to use one
shot for Princess Polly and obviously I wanted Carianne to shoot it.
out to other people, and try to meet people, but in this
another, I’ve figured out. So, it’s better to create with those you know.
OLDER: And it was a brand collab, which is huge and
LUNA: So, I guess with that I’m sure it’s been interesting
to shoot it, so we did which was great. It’s really cool to
you, you had just moved out to Los Angeles and so much
cool as fuck.I didn’t have to shoot it, but she wanted me put those type of things on both of our resumes.
Our goal as a duo is just to work with every big brand and just with everyone. We bring our friends in, and we
wanna work with diverse people. We wanna work with all different kinds of people, just so that it’s not just the two of us, either. We have a group of girls and guys that we
like to work with, - it’s all about bringing your friends on too. I try not to work with people I don’t know as much.
HARRISON: I feel like prior to meeting Carianne, film was just another creative outlet of modeling and
shooting. It really wasn’t my full-time vibe and aesthetic. It was something I wanted to do, but I couldn’t really find someone that paired with that aesthetic organically, as you said. As we started doing that more and started
to navigate it all. Carianne, the last time I interviewed
has changed since then. Before when we had talked it was like, “okay photography is my full-time thing, I’m in
LA now.” So now, I’m more curious what the transition was like from, “Oh, I’m a photographer” to “I’m my own
brand, I’m more than a photographer, I’m doing creative directing, doing the whole thing.”
OLDER: Yeah, I kinda just fell into it. I work with one of
our best friends, and my other business partner, pretty much besides Miranda, her name is Zanah. Everything that I don’t do, she does. She does my set design, she
does my editing, she does video. She’s amazing. So her
and I have teamed out to do all the bigger scale stuff that you’ve seen - like the Kali Uchis thing was just us and we just did Playboy.
reaching out to brands it became more and more
So moving out here, I was just thrown opportunities,
and a full-time career as a model, was something that
had never had someone offer something so kind. Out
obvious that being able to pursue this professionally, just didn’t exist before that. Mainly just because there
wasn’t somebody that I was so driven to do it with, and to create with. So having that opportunity and, like she said, us being able to reach out or speak to brands on a daily basis, and bring each other into projects that are
huge opportunities for one another, it almost makes no sense to do it with anyone else.
It’s incredible to be able to work on big projects with our friends as creatives, and bring our friends, separately,
literally. Zanah hit me up to build a set for me and I of the kindness of her heart, she’s like, “I wanna build something for you.” And we did two sets in two days.
We had never met because we were Instagram friends for like a year too, and we met and we literally looked
at each other, similar to when me and Miranda met, and we’re like, “Okay, dope, we’re best friends now.”
It’s just been amazing. She’s brought me on amazing
projects, I’ve brought her on amazing stuff, and the two of us together have leveled up.
LUNA: When you work with someone like that, or you
bring in that extra element, you’re all of a sudden like, “Oh, fuck. Okay, this is the next level. This is what we’re gonna do.”
OLDER: Totally. As we were talking before about bringing our friends onto stuff, that’s what we mean. We have a whole team now. When we did Playboy, Miranda
came and helped for the first three hours, you know
what I mean? We’re all whatever we wanna be whenever
we wanna be it. There are days where I’m over there holding the reflector. And I’m not the photographer. To be honest, it rarely happens, but there are days. LUNA: Humbling. OLDER: The roles are reversed, but it doesn’t matter because we’re all a team. It’s just cool and at this point,
I have not taken no for an answer. I’ve seen what I can build, and what I can do, and what options were open to me, and it’s been unbelievable, the stuff that I’ve been able to produce all by myself with no one’s help.
LUNA: You can grow, and you can get a whole team, but you know that at the end of the day, “I can do this. I did this alone before, and I could always do that.” It’s
always awesome to have help, and it’s cool to move up that level, but I feel like at the end of the day, you guys got each other. You know at the end of the day you can
work together. You don’t need the whole production, which is also very reassuring.
HARRISON: Which has been the biggest blessing, especially during this quarantine. Right before quarantine
we moved into an apartment and styled it to be shot. We have a home studio and we were fixing it every single day to shoot more and more here, and being able to just
have that here, and not even have to leave our house, or leave our street, to do at-home campaigns. I think that
shows a lot to other people, too, and I hope it has been inspiring to other people to create at home, as well.
LUNA: Yeah, you’re able to make it work - good for you guys for being so smart honestly. On the flip side,
Miranda, you mentioned this earlier - I know you were dabbling in a lot of different areas, but being able to make that transition to full-time modeling, I’m sure that was a really interesting transition and feeling. What led to that, and how has that affected everything else that you’re interested in?
HARRISON: I grew up in musical theater and competed
in theater, and gotten confidence from that. Modeling
sang, I have danced, I’ve done it all my whole life. So
I was a kid. I’m also a thick, curvy girl and I’m not six feet
for Miss America when I was 20. So I have acted, I have
it’s never felt right to do one without the other, and I feel like that’s a huge push within the work that I want
to create, and that I style, as well. I want everything to be as cinematic as possible, and to be able to create the story through the set, as well. So being fully hands-on, both with who I am as a musical artist, and who I am as
a model, and that being cohesive, is so important to me. I’m currently working on my EP right now that will be out this year. It’s just so great to be able to have so much content that is cohesive with that, so that there really isn’t
was never the thing that I thought I was gonna do when
tall. I didn’t think that I was gonna be a runway model growing up. So to see the inclusivity of that, and to see the people that message me on a daily basis, asking me
what size I am and being like, “I think we’re the same size. Seeing somebody like you model in a bathing suit makes me so excited, and makes me wanna go and do
the same.” Or, “Oh, I did this photo shoot today that was
inspired by you.” I never thought that that would have
happened. I channel that through my music and art - I make bad bitch work.
a separation. But to be able to be given this flexibility
LUNA: I love that. Carianne, you’ve been drawn to
be able to pursue that, also while acting here in LA, has
that, and, Miranda like you just said, through your work,
from modeling, financially, to be able to do music, and to
been the gateway to it all. Now I have the resources, and I’m meeting the creatives to work on music videos, and
to build into the team, as we’ve said. That’s so important
to me and it’s never felt like a struggle. I go with what’s
female portraiture and definitely branched out from you’re pulling out that bad bitch vibe. Do you both have
any common inspirations that go across the board for your work?
working - if I need a break in one, I go to the other.
just because we’ve been booked on so much stuff, which
OLDER: Yeah, definitely.
the opportunity with any of them. So it’s more about
HARRISON: Our house, and our style, I would say, is so
which, that can be difficult.
like the ‘60s and ‘70s. Music, especially, I feel like music
Modeling has been the most consistent recently, mainly is a blessing in itself. So, I’m never gonna shy away from
just making sure that you’re making time for everything,
And like I said, I just fall back to timing is everything. You don’t feel like getting in the studio one night, and you feel like you need a break, don’t go. Write in your room
cohesive. The vibe that we both see in different eras, is a huge inspiration in the work that we’ve done. We’re
pretty spot on in our music preferences together, too. So, that part, I think, is super helpful in our work.
at night, which could be worth so much more if you sit
LUNA: That’s very clear too. When I see a photo that
going in there and forcing yourself to do something you
definitely worked hard to get to that point too.
there and write the song of your dreams, rather than just don’t feel like, and pushing yourself in that way. I feel
like every day I try to be as creative as possible, and it all works out for every facet.
LUNA: Definitely. I like what you said in terms of being
you guys have worked on, it’s your style. You’ve both
HARRISON: Yeah, I think, that hearing somebody else say that is so cool. I feel like the one thing that I always say is, “We’re getting booked for our vibe.”
able to have different areas to tap into allowing you to
Again, going back to me not thinking this is something
since it’s easy for all of these things to flow for you. It
brands are picking up on the film aesthetic and on the
not get burnt out, in a way. Obviously, this is your passion
seems for all these different areas to come naturally into each other.
HARRISON: Exactly. I don’t think that I ever would have ever modeled, if I wouldn’t have acted and been
that I could pursue professionally, seeing how many creative direction that both of us play into our shoots, that’s the coolest part, when a brand is just like, “Here is the product, do you.”
LUNA: How does that aspect work with brand work
versus editorial projects or personal projects? Do you
guys approach them from a different route? Or, since you guys have just said, you very much have your own style, so are you coming at them the same way, same vibe?
OLDER: Same way, same vibe. If you wanna work with us, you know. You look at my page and you know it’s a yes
or a no if it’s gonna vibe with you and your work. I have a website with a lot of work that hasn’t seen the light of
day. We’ve shot for a sparkling water company, a CBD
company, a pen company and a lot of weed companies.
We shoot so much that we don’t post everything. We have our media kits we send over that is a little bit more
specific to brands or products. At the end of the day,
yes, the photos do look a certain way. A lot of brands don’t send mood boards, they’re like, “Just go for it.” Or if they do, nothing’s cooler than getting a mood board of our photos.
LUNA: You ladies have definitely turned yourself into a brand, and Carianne like you just said, they go on your page and they know what they’re gonna get when
they’re working with you guys. How did you both make that transition from simply having a “vibe” to a more formal brand? I feel like you all are both business woman. You all know what you’re doing.
OLDER: Well, having corporate backgrounds has definitely helped. I was born and bred to work a
corporate job. You know what I mean? That’s what I wanted to do, what I thought I was gonna do, when you
met me that’s what I was doing. When I shot the cover of the magazine for you last time. I was working at Abrams Artists Agency.
LUNA: Yeah, I remember that. OLDER: I tell people all the time, “If I didn’t have a business background, and I didn’t know how to email and how to word things, and how to like put my work out there, I would not be successful. “ LUNA: People look over that too. OLDER: They do! All the time. Just being on it, and knowing how to do, invoicing, Excel spreadsheets,
charging people this, doing that, not taking no for an answer or finesse-ing my pricing or my packages and
stuff, to really make people wanna work with us and
making the emails professional. It just looks a different way.
HARRISON: To answer your question of how that came about as a brand, I don’t think we ever thought
about it. I think that’s just what happened. We started working together and creating and it was like, “Oh this is just working, so we’re gonna continue to do it.” The
coolest thing to me is that when I first started working with Carianne, she was doing this independently. To be
able to work that way, and just be brought on, and to network and connect with those brands, and then just love the way that we work because we are on it. We are motivated to get it done... That part was seamless. LUNA: It’s more authentic too. OLDER: Yeah, it’s more authentic. It might not be easier for me but in the long run, when we get there, and all the girls are there and it looks great, and then it’s easy on set. You know what I mean?
LUNA: So you’re completely independent, you’re doing everything. Miranda are you represented by an agency, or are you also independent for modeling?
HARRISON: I’m a repped by Daniel Hoff Agency. They do send me out for print jobs but I’m mainly signed for them for commercial acting.
LUNA: How does that balance work? You’re represented
but obviously you’re doing a lot of work independently and on your own?
HARRISON: Yeah, so I feel like with my agency, they’re very supportive of me working. My goal for this year is
to find a manager to work with my agency and expand
in that way and become represented as a print model as well. But again, just being able to work and build my
resume has done nothing but help me audition, and as an actor I feel.
LUNA: I know you guys are always on the grind, up to
something, which is so awesome, but I imagine since it is so easy for you guys to make stuff and you guys are so
driven; How do you find that balance of work and play,
and just creating for yourself? Do you guys ever just do shoots just for you guys, for kicks?
OLDER: Yes, we do, we love to shoot each other.
Miranda’s taken all the best photos of me. We do like to shoot fun stuff and we have all sorts of ideas and they do
get pushed to the back burner half of the time because
we’re out here hustling so hard. But there are days, we
look at each other and I’m like, “Yeah, I want you to shoot me wearing this outfit today.”
And vice versa, we definitely do try to make time for our
fun stuff but we’ll take our fun concepts and put them into a brand shoot, especially if it’s lingerie or swimwear,
something cute. We’re like, “Okay, cool. Well, we have this idea, well, now you have the costume for it, and we’re getting paid.” So win-win-win!
HARRISON: The last big creative project that we did just for us was for my music video that we did right before all
of us a few weeks prior to quarantine and Carianne shot
the cover and BTS of the music video as well on film. That part is so special because those days, because I do
style, creative direct, co-direct, write the treatment for
all of my music videos, my head is in a million different
places. As much as I love meeting and working with new creatives, having somebody that I know just gets my vision and is there to work makes all the difference.
LUNA: That’s amazing. I know you’ve been doing a lot of projects together recently beyond that video, so what are some kind of favorite projects you’ve been able to work on recently?
OLDER: We recently did Banshee Swim which was a lot of fun. We’ve done Kandy Pin a few times and we like
them because they kind of allow us to do whatever we want within our realm for them, which is really cool. For Banshee Swim, we just really like that company and we
really liked their vibe and the shoot did for them was really beautiful, and it was right at the start of quarantine and we went to this little trail when hiking was still allowed.
We really like drink Poppi. We did a full 12-look campaign for them that was really cool. Also Los Sundays, a tequila company was a fun one too. We’ve loved working in cannabis and alcohol. I think those end up being the
most fun shoots because coming in, with our aesthetic, it
just ends up being so epic. Like a girl just loves to shoot with a joint!
HARRISON: I also work as a brand director for a cannabis
company here in LA, so it’s been really cool to see our work also transition into that field with other brands.
at a bar, or something.”
With the stigma of cannabis, for us to make shoots so
HARRISON: At a karaoke bar.
is really cool. To work in that part of creative direction in
LUNA: That’s hilarious. So, I guess on the flip side, earlier
epic around that, rather than just stoned on the couch cannabis is so, so fulfilling for us.
LUNA: That is really tight. Yeah, I’ve loved the work that
you guys have done with those brands - definitely taps into the sexy side of weed.
Earlier, you mentioned a lot of inspirations with ‘70s aesthetic, as well as music - any musical artists you’ve been listening to lately?
HARRISON: Oh, we love Harry Styles. Immediately when
we touched on how you’ve both build up your own brand and are overall badass business women. All in all like,
it’s really inspiring for young women to to just see these two bad-ass girls making something of themselves and
doing their own thing, and being so supportive of one another. So, I guess with that, do you guys just have any general advice for those young girls or women trying to
build that career and work with other people, but you
know, might feel kind of discouraged, especially in these industries in particular?
we became friends we started listening to Fleetwood
OLDER: I would say work with women. Start there, work
ethereal, ‘70s vibe that’s played a lot into it, especially
learned a lot of lessons early on with just jumping into
Mac and John Mayer together, so I kind of feel like that for sceneries outside in nature. We also are Gaga fan. LUNA: Yes. Monsters for life. HARRISON: Yeah, so always Gaga - she’s just so…epic. Another inspiration for us ‘Miss Maisel’ that that is so us. That whole show is us, we just died the whole time, we’re like, “Look at that scene, look at her dress.” We had to stop talking in the episodes, because the whole time
we’re like, “That outfit is me. Oh my God, that kitchen is me.”
LUNA: That’s just up y’alls alley like in every regard. OLDER: We also love old music too like Frank Sinatra era, Peggy Lee, Etta James.
LUNA: Puts you in a whole mood, I feel like. HARRISON: It does, it does, just a better time and like the like small, little New Yorker girls in us jump out sometimes too.
with your friends. I love all creatives, but I feel like I working with random photographers and strangers at the end of the day.
HARRISON: That’s the reason I started shooting with primarily female and an LGBTQ photographers, just
because it felt like a safety net. So, I would say like if
you are a young female creative, get together with other
female creatives. I don’t think that there’s a group of people who work harder. EVERYONE: Yeah! OLDER: It’s sad to say but we are a minority. I was on a
set recently where there were like 50 men on set, and like 10 women. It was fucking wild. Like, it was crazy to
see not one woman was on the like, on the filming team, or on the crew. I was the only photographer. It’s just like, why? What the fuck? Like in what world is that okay.
LUNA: That’s crazy. You don’t understand how does it gets to that point? You know like, at one point how was
someone not like, “Huh guys, this is kinda messed up.” Why?
OLDER: We both lived in New York and didn’t know
OLDER: Right? And that’s something that I feel like we’ve
there longer, but Miranda was there three of the years
friend, Jonah, has been doing a creative project, called
each other. We both lived there at the same time. I lived
that I was there. We’re theatre people and we never met!
I keep saying, “We probably sat next to each other like
been discussing like through the past few weeks. Our “Giving Back During COVID-19”, and it’s got us kind of
thinking about how we can give back for children in the
OLDER: Email people! Something that Miranda and I
I don’t feel like I thought that this is something I could
we are not scared. We’ll go for anything, we’ll talk to
arts and also like young females in the arts. Like I said, pursue professionally, because I didn’t know I could do it
as like a one woman band. So to be able to do that with another woman, to build up that team, that’s where it all started.
So for me, I think that would be the key of success that I could give to young female creatives. It’s like do cool shit
with your friends. Just do it. Like, it doesn’t matter, job,
definitely don’t’t have is fear - people are just scared,
anyone, we’ll say anything to anyone, its social media, there’s a wall. I’m not calling you on the phone, I’m not meeting you face to face yet, unless you want to. You know what I mean? You can shoot your shot, that’s how I shot Kali Uchis. I literally DM’ed her, I was like, “What’s up? Love you, like let’s shoot!” She was like, “Okay!” Did I think she was gonna respond? Not really.
no job, freelance, just do it.
LUNA: No, that’s fucking awesome.
HARRISON: If you want to work for a brand, message
OLDER: But she did, and she was down, and she was
then you can un-send the message and pretend that you
these opportunities?” You make them.
them! They might message back, they may not, and didn’t.
awesome. People are like, “Oh my god, how do you get
LUNA: Yeah. You’re like, “Me.”
there who can support you, and who can level you up.
OLDER: Yeah, you literally... You just do it for yourself.
with a supportive agent, nothing is better than that. It’s
You just like take no shit, take the opportunity.
Having that blessing, both in our group of friends, and such a blessing.
LUNA: You have to start somewhere, too. That’s what
LUNA: For sure. Ultimately, you have to put yourself out
off the ground and to work with big people. You have
I know things are always changing these days, but
always surprises me, is like people expect to just start to start somewhere and in order to move forward, do something! You can’t just sit at home wishing you were doing all these things, that’s not gonna move you forward, you gotta hit up people, you gotta do the work,
you have to push yourself forward, otherwise, how’re
there and you’ll find the right people.
moving forward, what’s next for you ladies?
OLDER: The grind doesn’t stop and neither do we!
We’ve been wanting to do Savage Fenty for a long time.
you gonna get there?
LUNA: I can totally see that.
HARRISON: I think with both of us being from like smaller
HARRISON: Savage Fenty works with a lot of women,
And that’s just the start of it. So I think that’s a big part of
and their lingerie is amazing and fits girls that are curvier.
hometowns, we came out and we fucking conquered.
our mindset and our goal as well. So many people have passion, so many people love to sing, so many people like to model, so many people like to take pictures. The only difference between us and them is taking the leap,
and women of different body types, sizes, heights, colors Any type of people love their products. We would love to shoot for them and it’s Rihanna, like come on! How cool would that be?
and that’s really important, taking that risk.
We also love Guess, and we’ve been seeing Guess work
LUNA: It’s one thing to be all talk, and it’s another
we’d love to get in and shoot for them. Guess is so iconic
thing to actually put in the work and see what happens because of that.
HARRISON: Yeah, it’s a ripple effect. It’s never not gonna be. Even when I first moved to LA, I was shooting but
with a lot of influencers and photographers recently, so
from all the years they’ve been around. They’re like a
vintage staple - we have so much random vintage Guess. That’s my favorite thing to find at the thrift or on eBay. I just feel like our aesthetic matches Guess perfectly.
didn’t think of myself as a model. That’s not what I would
OLDER: On a smaller note too, this is checking a bucket
first started auditioning for agencies, the first one that I
together is so sick.
call myself, you know? Whenever I came out here and
went to was Wilhelmina. I did not think I was going to be
list off too. Being on a cover, and being published
signed by Wilhelmina. Like, not in my heart, and that’s
LUNA: It’s our honor!
and I got feedback from Wilhelmina himself. They didn’t
OLDER: Definitely more of that vibe - I think more of
are creatives too. So after that,
doing more cool stuff, and getting our names out there
okay, but I went in there and I showed them my portfolio, laugh me out of the door, or say anything nasty, they I walked into every
single agency and I ended up getting with the one that I
wanted to begin with. So I think that’s a part too where
you have to put yourself out there. There are people out
that. stuff. This is the vibe of 2020 we wanna be on. Just
together. Sharing our work on different platforms, in different calibers, it would be really cool to see it in print for sure.
PHO CHIP TOS BY PIE CArc amo
SELF Photo By Maria Rocha / Lisbon
Jonathan Roensch / Eugene Mask By Clara Wolff
Maria Lata / New York City
Iâ&#x20AC;&#x2122;ve been lying since I was a kid. Even before I had any reason to. Embellishing stories, making them more intricate, more exciting, more. Real life just isnâ&#x20AC;&#x2122;t enough sometimes. Adding that extra kick, a zesty little tidbit that brings the incredulity out in their eyes, throwing in some emphatic head-nodding and raised eyebrows to really sell it. For what? A laugh. Attention. To feel like the center of the room. Or maybe embellishing to the make the menial transactions and interactions of daily life a little livelier. Or maybe to embellish the story of you. -Britt Jacobson / Tarzana
Giada Caprani / Dublin
Sassha V. by Jamiel Betancourt / Naples
Head Full of Existence I can take words and make them mine, Hover each syllable over your head, Out of reach, you cry for my distant rhymes. I’ll admit my heads a cage, and You’ll never comprehend the cruel heaven that is my heart. Misguided and undecided, you may see me, But you’ll never perceive me. I have wings, and melancholy is my art. Longing is ephemeral ‘Cause I’ve found what I’ve been looking for, The desire for more fleets like a river; My visions have never been clearer, Than an eloquent crystal that can’t be ignored.
Don’t say you’re standing by my side
Because your armor is made of different metals than mine,
And I don’t need to lie to hide
Or manipulate to suffice.
I’d rather hold my breath and feel my lungs collapse
Than give you the satisfaction of jabbing at my past.
I can’t exist in the real world and I can’t exist in mine.
When my thoughts conspire against me,
Solitude and sanity holds a fine line.
One day I hope my hands will manage to pry,
And hold them far apart before they intertwine.
But I’ll give it time,
If time will have me
- Sarah Winona / New York
Shayanne Gal / New York City
Helena Stiasny / Warsaw
The Mirror Rows and rows of glass are laid out onto creaky tables, organised in crates with neon price labels. I find myself among these tables after my weekly trip to the cafe around the corner. The strong smell of ground coffee beans still very much present. The glass gleams in the mid-afternoon sun, reflecting the sky and the small bluebird flying to and from a distant birchwood tree. I decide to purchase one of these looking-glasses, loving how the breeze seemed to leave its imprint on the surface. The vendor wraps up mine in bubble wrap and into the paper bag it goes. I promise myself I won’t break it on the way home. I leave the market feeling a little bit lighter than when I had left that morning. This day deserves a journal entry, I tell myself. My keys find their way to my front door and I kick it open. I walk over to a side table and place the bag down. No, no, no, no. A slash right across the glass distorts my face into awkward segments. At first, I sigh, wishing I’d kept my promise, but I think about how words don’t have to hold deep meaning if you don’t want them to. Maybe this ‘promise’ was just like the song I sang in the shower, words that made me feel calm. This glass isn’t so terrible, I think to myself, it’s kind of endearing in its own way. There’s a nail already hammered into my wall from when I went through my phase of hanging fairy lights around every space that I could see. I enjoy my windows more now. I place the glass onto the nail and position it. I look into the mirror, though fragmented, see an image of myself. It’s interesting to see myself in this way, to see the other facets that make up my being. In this way, I’ve come to appreciate the way I look in this piece of glass. I feel like I see a more focused version of myself, one stripped away from all the background static, that the glass and I had more in common - we could appreciate our flaws. This day certainly deserved a journal entry.
Photo By Claire Lin / Palo Alto
- Lucy Andrade / London
a sense of calm i am excited to find who i am, by sitting with my eyes closed sensations disappearing surrounded by dark light, lavender scents, fire melting then coming back to myself with calm covering every inch of me. i’ll blow the candles out and i’ll smile because i am growing, and i hope my future self is writing every day, doing everything she’s meant to. i hope that she looks back at me, and has a brain filled to the brim with pride for who i am now. in all the ways i’ve changed i keep holding hands with the ocean, the rocks, the trees and my pen i hope to stay that way.
- Hazel Rain / Bellingham Brinley Ribando
Dylan Kostadinov / Seattle
Remy Smith & Isabelle Davis / Los Angeles
SĂŠlina Farzaei / Montreal
Nothing pretty. Nothing sweet. Nothing light. I look for sharp edges in other people I like the raw flesh of it all exposed The line that crosses A desperate yearning for attention. To consume To tell the tale To feel the gripping of a feeling pulled in every direction The scratching away to be revealed. “Let me consume you” It begs, it screams, it pleads It drips and it’s cold. You cannot see. It’s come to me but now I must find it. A hollow feeling as I sink into myself A rash of gaping holes burn my skin She reveals herself to me. And then I remember she is not new at all She isn’t planning my demise She is tactful, strategic The negative spaces are just passages Transportation Cruelty in it’s most lethal form: A decaying carcass born again to die again The sound of a slap. The taste of blood. The chilling pavement of rock bottom Pulsating heartbeats thrown against their own will. The dry heaves between purging of what once was Spirals of unending paranoia stabbing you at every turn The lustful explosions of a solid foundation She knows how it feels to be empty space and to transform into the rawest state of being She knows what it means to live. She knows, “You cannot live without me.” - Alyssa Mantilla / San Diego
During the COVID-19 pandemic, my identity has played a big role in finding myself. I have documented my family and I’m trying to understand what growing up mixed should mean, but what does it mean? I have the same questions, “Who are you? What are you? Where are you from?”. Words being screwed into my head that sometimes I question what it really means to be mixed. My mom is Black and my dad is White so what does that make me? “Who are you?” (I ask myself) How can I embrace the ignorance of people who see me as invisible? The historical context of race and identity that have personal relationships and stories to share. These stories and documentations of being mixed race are all similar ideologies of how society treats people from different racial backgrounds. They see us as invisible. The recognition of mixed-race existing and describing how people see skin colors. The people who are perceived as White and Black, the reality of human perception asserting itself and is made to speak for itself about my visual experience of Race and Identity.
- Charles Williams / Montclair
â&#x20AC;&#x153;The Beast Known as Selfâ&#x20AC;? I wrestle I claw I gnaw I would fight tooth and nail To cower I face a lone mirror Against a stark white back drop I grieve the loss Of a skin That has long been shed - Meghan Adams / Rock Hill
Maria Rocha / Lisbon
Best Intentions I saw a man crash into Earth I dug him out of new spring dirt His face was pale but somewhat new Eternalized with moonbeams too A familiar pain, a forgotten hue I dug until his hips were raised Dug until he saw my face Dug until the dirt abrades And he could wake, his arms could raise He pulled upon my shoulder blades I dug til he could run away
Photo By Helena Stiasny / Warsaw
Without digging, there isnâ&#x20AC;&#x2122;t much to do Except to think and long for you The moonbeam boy who ran away The best intentions never stay And still I think and long for you The thought that makes my mind askew Like stars get caught orbiting the sun Get thrown at planets just for fun And planets welcome with open doors So maybe someday Iâ&#x20AC;&#x2122;ll crash into yours
- Nolyn Ducich / Thousand Oaks
Maria Rocha / Lisbon
reflection there’s the farce of flowers in my throat, as pleading stops short on my tongue and begs for the loud parts of me—the ones on fire for what i have not yet seen, declared to be the weaknesses in my heart. i find love letters of strangers pocketed in an abundance of torn jeans from years of cacophonous silences, as sunless memories break free from the nightlights i trapped them in with the pink hands of childhood. memories scowl from a distance and youth plays my words like a stringless violin; tune caught in the doorhandle as i turn the corner too quick. forgetfulness pins me down to the bed but it's vain in practice, unable to kick the fact that there will always be the taste of butter in my mouth—playfulness turned sour to make me think that i’m in love. i paint myself with godless confidence until i can’t tell if i've even got a crown; so sink me down to my knees—don’t let me pretend that i know how to breathe; like i’ve got a friend in the world who’s enough for me. let me go to take the lead; i’ll try hard not to make it about me, leaving lovemarks on passion as i go; pride engulfing my need to show that i am whole. i’m hiding truth in the medicine cabinet, praying with my hands clasped underneath the dinner table; i’m reeling with a childhood speak that won’t reveal me as the freak i feel—a little girl hoarding melodrama and scrambling to keep up with the fear. but you don’t have to worry, my dear; i’ll breathe my own mania under the dances you share with me, and i’ll keep my lungs quiet when you pull me to your chest, under the cover of our sea.
David Esquivel / Aurora & Le Quyen Nguyen / Berlin
- Turi Sioson / Austin
Alyssa Georgia / Kent
Honesty’s Conversation With Me Learning to sit in a room by yourself is the hardest thing to do Cracked ceilings remind you of broken dreams How bitter it tastes to know sacrifices aren’t always appreciated Dirty floors cuz you were never grounded Lost yourself in the walls cuz he made you into his home Forgetting yourself and your worth in the process He built you up and broke you down Standing in empty rooms reminds you of yourself now Grown woman: You still get chills You still feel Grown woman You still cry You still scream But grown woman why don’t you smile? But grown woman why don’t you open up? Why can’t you trust your gut? Why can’t you react? Why can’t you act grown with your emotions? Communicate like a grown woman Cuz you grown right?
Growing Pains Medicine won’t fix broken hearts I’ve taken enough Ibuprofen to realize Your achy bones are a good thing Some people don’t know what it’s like To grow out of their pain, Becoming something new Spirit Someone tried to tell me I’m broken I’m shattered glass, A cracked light bulb, A window that can’t keep the shades open Last time I checked, I still had a pulse, A purpose, A spine, Two feet, Even though I’m tripping up the staircase, I’m still moving forward
Photo By Maria Rocha / Lisbon Self, A Series of Poems by Brianna Knight
Empty Promises Moonbeams illuminate the cedar wood floors of the tiny antique shop, The only source of light in the darkest hour of the night, When dreamers dream, with only the bitter cold seeping into fatigued bonesâ&#x20AC;Ś. Until the horizon turns orange and gold, and the moon hides its face yet again. A small girl with red cheeks and raven black hair opens the door, Holding the weathered hand of father, their breaths forming fog in the wintry air, For in the depths of the tiny shop lay a lone black violin case, Out of place like a brick among colorful feathers in stark contrast. Once, it was apprized by many, carefully handcrafted with the utmost love and care, And not a speck of dust dared touch its polished varnish then. Its warm, rich melodies had sung in many acclaimed concert halls, Its timeless, haunting beauty connecting the souls of strangers for that one moment, Allowing breaths to catch and tears to inevitably fall, fulfilling its selfless promise. Now, after many long years trapped in the steady undulation of the glorious past, The violin had forgotten its promise, its concert days only a fading dream of youth. And the small desperate flicker of hope had simmered to a dying flame in its fragile shell, Until the girl with the raven black hair, straight like the definition, became its owner. Yes, I bought the violin that day, For it was a joyous freedom for the girl and the violin With its warm, rich melodies still ringing in acclaimed concert halls, Its timeless, haunting beauty connecting the souls of strangers for that one moment, Allowing breaths to catch and tears to inevitably fall, fulfilling its selfless promise.
Giada Caprani / Dublin
- Jacqueline Wu / Stony Brook
Giada Caprani / Dublin
Mary Katherine Tebo / Jacksonville
Outside my window inside my window my mind is an unceasing breeze like the whirlpool of autumn’s wind catching the red and orange leaves. A flutter, a flutter ! my thoughts are untamed, unhinged lashing its unhindered string of flicks searching for the inquietude to be licked. inside my window sometimes i feel that myself is astray looking at the ceiling through a telescope at the endless wonders of stars and space. i sometimes wonder to myself, amongst another day of paradise, where in the timeline of the universe could someone live this life. outside my window i watch the people walk through my street wondering how they live their lives in such a timeline as this. where could she possibly be walking to? an untamed action of the hibernating shrew? walking in the street looking for something new? wondering what’s next, what’s there to do? outside my window are cities and towns that are hollow people walking in circles like caged animals buzzed in wonder of where else shall we go. lonely hearts, anxious minds fearful monies and dangerous hands, what a time to be alive in the world outside my window. -Nicole Abriam / Orlando
Becoming in tune with my self and my needs throughout quarantine has been my proudest accomplishment this far. To learn healthy coping and setting boundaries is to love yourself and to be unapologetic in what makes you unique is to live freely.Aalone time used to frighten me for the thoughts in my head never cease to quiet, butIi am stronger than those thoughts and isolation should bring tranquility not timidity. Self love grows through solitude. now, when i look in the mirror, I truly recognize the girl who looksÂ back.Â - Evie Grimmitt / Indianapolis
Giada Caprani / Dublin
Having been home with plenty of time for introspection (perhaps too much time) I fell into a creative rut. Despite constantly consuming culture, failure to create began to weigh heavily on me. It was a welcome distraction when my sister, Leigh, and her boyfriend, Austen came to quarantine with us. After a few days of playing Super Smash Bros on our freshly unearthed Game Cube, we were feeling antsy enough to do a photoshoot. Austen put his skills as a former Bar Mitzvah airbrush tattoo artist to work. On one arm I got a colorful sleeve of peace signs and butterflies. My other arm was speckled with flaming hearts and barbed wire. Perhaps fishing for some deeper meaning, I began to feel like these tattoos reflected my emotions. The flip from rainbow sunshine girl to Strokes-listening angsty teen has always been embedded in my personality. But recently the dips and loop de loops on my accelerating rollercoaster of moods have become overwhelming. I did my makeup with this in mind. On one eye, henna eyeliner and yellow eyeshadow for the mellow hippie in me. On the other, the exact combination of black eyeliner and silver eyeshadow I did as an angry 16-year-old. We shot a couple of rolls, including an expired one that revealed itself to be entirely blue. The wipe-out of all the colors, all the moods they signified, reminded me that I would rather oscillate between any emotions than melt into blue. Some days are simply tinged with blue, and the best I can do is adorn myself with rainbows- wear clothing so colorful they just might lend me a color. How else do I keep the blue away? Yellow on my eyelids, red on my lips and a rainbow hat on my skull- to protect me from the blue sky. Also, always taking photos on film that hasnâ&#x20AC;&#x2122;t overly ripened, just in case.
Britt Jacobson by Austen Berens / Los Angeles
Gabrielle Gowans / New York City
baby daddy on the money looking at the time on our hands why you wanna hold mine show me where that hurt lies call up your little bro to give him a hard time make sure he knows something you donâ&#x20AC;&#x2122;t too late now walk smelling like jasmine as fuck for a metaphor donâ&#x20AC;&#x2122;t care if you love me said you simply just want to know what i said say you feel green like that one sigh that slipped our attention and grows in silence in the heat so you can hear how the earth breathes your neck sublime a verb for now slide me your keys over the counter underhanded honesty because you know i donâ&#x20AC;&#x2122;t lie without good reason know i wont ever miss you if i remember you selfish and beautiful selfless and full link up to ask me questions so i can remember how gifted we are no stone left unturned mouth burned from getting this close to the aperture between degrees come out the other end cease fire marigold kind of paramount for a while call it fate for the time being find the words we fear we might lose - Hop Nguyen
We are a part of it all What are the moments we live for? The ones that surround us every day. The ones that we never really notice, Until the time when they slowly slip away. The sun shining in through your window, A bird soaring high in the sky, The pitter and patter of raindrops, The faces always passing you by. That moment when the light changes when it gets to evening time, Or listening to your favourite song Every beat, every lyric and rhyme. The feeling that you get the moment before it rains and you can feel that change in air. Or when you see something that inspires you When you feel drive and passion and can stare At the amazing world all around you… Although we might sometimes feel small We are all a part of it. We are a part of it all. I love gazing up and watching a sunset Seeing clouds and trees and life. A flower, a dog, friends saying hello, Millions of stars shining through in the night. This is our world, The only one that we’ve got. This amazing earth that lies right before your feet. It holds the places you’ll go, the things that you’ll do And all of the people you’ll meet. So promise me one thing: You promise you’ll do it, right? The next time you see a sunset or gaze out into the night, The next time you look around you and see all the beauty start to unfold… Promise me you’ll say to yourself: “We have to protect this world.” - Ash Woodland / Mpumalanga
Kaisa Sherwood / Sammamish 112
genesis patterns flit around me opening wings like butterfly migration dinting off of the sound waves from the weather report two rooms over the drone of syllables reminding me of the hopeless situations and the fear we should carry around our waist like a weapon to be pulled with ease i am slopping into the stickiness of sorrow i am supposed to hold dear to me is it so wrong to be optimistic in spite of a dissolving future characterized by the pixels dictating the ways we should feel the ways we canâ&#x20AC;&#x2122;t feel and the feelings we should use as defensive weapons i split in spite of it fall into clouds created by graphite scribbles the smell of lavender and the texture of hope across my cheeks
- Kari Trail / Menlo Park
When I think of self…. Self-reflection is oblivious one. I’m able to treat myself to my needs since I feel we are always on the run. I feel time has stop and we are able to take a step back and reflect. Sometimes we are obligate to be with people. However, I feel we gain this sense of nostalgia and able to stop, refine, and look at the details surrounding us. What time used to be and now. Self-love. I still do the everyday things I enjoy as much as I can as we adapt to the new normal. I found a new love and respect of my home by taking pictures of homes and the diversity of them. When I take walks, I’m grateful for the town I grew up in for majority of my life. I learn about the beauty behind these walks when I escape quarantine. I really love where I grew up and I feel people forget about that. The city or town that helped shaped the person who you are. Selfish can be a negative or positive connotation, but for me it’s positive. I can go at my own pace, treat myself to the things I want to conquer. Yet, sometimes I feel that people are obligated to follow someone and lose their voice leading towards a negative connotation. Through its negative connotation, it can mean isolating, annoyance, rudeness, or greedy towards survival. Self -cleanse. I honestly just enjoy taking photos and it’s the beauty in becoming an artist of all sorts for yourself. You arefree to take what interests you, explore the lands or streets you never been to. While things are on pause, we are able to enjoy our surroundings by being more aware and appreciate the friends we grew up with. I feel we are able to restart as well. Some of the things we want to leave back within the past so we are able to start over. Self-desire. We strive for our goals, when people say not to take risks, we take risks anyway. I think that’s the beauty of it. While we experiment and are driven with a goal, we create something new and inventive in order to fulfill our desire. My friend and I biked from one town to another through the baylands and I never would have thought we wouldn’t make it or get lost but we took that risk. Not only we enjoyed the success but the beauty that comes with it.
- Claire Lin / Palo Alto
Self Sometimes I’m afraid of looking in the mirror because it might fall, my face will fall into a birthday cake with twenty-three candles, each an orange celebration fading into smoke. What is a legacy? Is it the wrinkles — an open book? The stretch marks and cellulite evolving like a constellation of stars? A body is just a body, a mind is more what? It knows no age. Seventy is the new twenty, until you look in the mirror, so, don’t look.
Photo By India Wilson / Adelaide
- Kendra Nuttall / Salt Lake City
SĂŠlina Farzaei / Montreal
P hotos By Michael DeCristo | Design By Will Catto
This collection of images is an excerpt from a larger, and ever growing, body of work titled Silk Hope. After moving to New York from Silk Hope, North Carolina, I felt compelled to photograph the people and places I grew up around whenever I visited. Coming back and documenting an area plagued with poverty and drug abuse, and a community that never accepted me because of my sexuality, has been a delicate task. The people in my photographs are ones that hold great importance to me because of the history we share, some good and some bad. I approach my subjects with a romanticized, revisionist lens, creating beautifully soft, warm images. Television and music were always a tool of escapism for me growing up, and the imagery from them heavily influences my tableau depiction of the place I was trying to escape. To me these images stand in direct opposition from the ugliness I saw growing up here, and while they canâ&#x20AC;&#x2122;t serve as an honest documentation of Silk Hope, theyâ&#x20AC;&#x2122;re a testament and depiction of my complex and deep love for this place despite the trauma I experienced here.
THE R E M O O L B E T A L T C E J O R P St or y B y
ign han Roensch | Des t na Jo y B os t ho P Isabel la Vega |
B y Shayla C unic o
THE LATEBLOOMER PROJECT ISN’T A MOMENT, IT’S A MOVEMENT. The Eugene based conscious clothing collective is dismantling the fast-fashion industry one repurposed outfit at a time. By putting intention into sourcing the materials they use,
the youth-run collective hopes to eradicate clothing-based pollution.
As fate and a cliche would have it, the story of The LateBloomer Project begins in college. In 2017, Josh Murray, a recent transfer student to the University of Oregon, met Hunter Reed and
Malcolm Mackey. All were students with an interest in clothing production and sustainability: Murray had previously worked on various clothing projects, Reed had been working cut & sew
from home as well as beginning screen printing, and Mackey
always had a keen design sense with an eclectic background of inspiration in the fashion industry from the beginning. Murray explains that “[Mackey and Reed] were very interested in the
nuances of fashion and knew what they were talking about. When I found out that it was possible to screen print ourselves, we immediately put as much effort as possible into figuring out how to make it a priority.”
The initial concept behind the project was a prompt from
the United Nations, which included taking their sustainable development goals and turning them into plans for the future.
Murray’s group chose a specific focus on responsible production within the apparel industry. They created a presentation that
was accompanied by physical examples, which were recycled shirts screen printed with statistics on clothing in landfills.
Murray took the ideas back to Reed & Mackey, and they all
In terms of aesthetic inspiration, The LateBloomer Project
really had no meaning at the time. We had this opportunity to
“blooming” and how it is unique in every interpretation. Since
began working. Murray says “we were making clothes that create something of substance and make a difference, but still
be able to express ourselves through our passion for clothing design.”
Currently, the team is made up of 10 members, though they hope to expand. Each member handles a different aspect of the process but they all have the common passion for making the world more sustainable.
likes to play off of their namesake, specifically the concept of
each designer that works with the clothes is different, there are different perspectives being put into each piece.
“We can integrate all of our concepts into a cohesive look, but
still progress from piece to piece. Even when it comes down to the details of what we use when printing, we’re experimenting with techniques that come from the curiosity in ourselves to create.”
So, how does The LateBloomer Project turn discarded apparel
For the average person, it is difficult to stray from ingrained
either repurposed or recycled. This can come in many forms,
to be more conscious about what they buy: finding a local
into treasure? Every piece of clothing that is on their radar is
from a gently used shirt to secondhand thread. The goal is to never put something out that hasn’t already been in.
Once they have the materials, the team discusses the creative direction in a collaborative conversation. “A lot of ideas get thrown out from each member and their interpretation. We
have a collaborative workspace for the majority of our time spent together – but most of all a very free space to create whatever we feel the need to.”
Though the team gets along well, it hasn’t always been easy. The project faced the issue of expanding a recycled apparel brand within the fast-fashion mold that is put into the clothing
industry. Because their pieces are each uniquely made, Murray
shares that website building and sizing was one of the biggest challenges at first: “We always wanted a website, but we
consumerism. However, the LB team always advises people thrift store or not buying anything new unless it will last for 25 years helps. Murray also hopes that LateBloomer will spark awareness. “We are set to create a community
of conscious clothing consumers. If our message is perceived by everyone we come into contact with and they go out and relay or live out that message, we have done our job. We want people to realize that a change can be made, it is not as hard as it seems.”
Throughout quarantine, things have been put on a pause for LateBloomer, but the team is making the best of their circumstances. Team member Grace shares that she is “not forcing creativity but still making art when inspired.” Mackey
shares that he is “connecting with nature as much as possible, and challenging himself to find creative solutions for things.”
wanted to make sure it was done right. Implementing our own
Though the project is based in Eugene, they hope to expand
ourselves in order to ensure that each piece is fitted properly
have been discussing having satellite workshops and flagship
sizing system was a big step. Each piece is sized by the LB team to whoever is purchasing from us, going from sizes 1 through
6 representing the measurements of XS-XXL+. We know that wear and tear can vary between pieces and not every tag tells
the truth, so this was our best attempt to combat that issue. On top of that, we wanted to ensure that we are a unisex brand.
This was just another way to secure that trait within our brand.”
to other cities across the nation. Murray shares that “we stores throughout the country and directly sourcing from that particular city.” The LateBloomer Project’s future looks bright as the project continues to inspire change.
LONBRAJ By Jenny Desrosiers
Being out of work due to the outbreak of COVID-19 forced me to sit with myself for the first time in years. To be still, no outside distractions. None of my usual coping mechanisms My vices. I can no longer wake up everyday and work myself to the bone as an escape from the inner turmoil I’ve spent the last two decades running from.
Throwing myself completely into my work is my favorite coping mechanism. I get a thrill from bringing my ideas to life, getting closer and closer to that dream as an artist I so desperately chase.
I moved over 3,000 miles away from my family and friends to Los Angeles, CA for my career.
In short: I’m a workaholic. My identity has been my work for many years. I’m the older sister who ran away from
home to pursue a career as a music photographer. I’m that friend who’s always at the festivals, on the set of music videos, taking photos of artists. Again, I’m a workaholic. My parents are immigrants from Haiti and I was taught to work as hard as I could to
validate that their sacrifices they had made to come to the United States was worth it.
A heavy burden to bear, something many first generation children of immigrants can relate to.
I couldn’t live up to the expectations of becoming a doctor, nurse, engineer or lawyer that
my parents had dumped on me, so I threw myself fully into pursuing music photography, a career that combines my innate love for seeing live music with capturing memories through a lens.
It’s artistic enough that I am allowed to fully express my creativity, but emotionally detached enough that I can numb myself by producing work for clients, never really fully
exploring WHY I was working as hard as I was and what exactly it was that I was running from that was causing me to overextend myself.
I’m an Aquarius, being emotionally numb is our speciality.
“You inherit your parents’ trauma but you will never fully
The idea for this project came to me after having an intimate
and describes this very concept that I’m getting at.
conversation with one of my friends over FaceTime, when
understand it…” This quote is from Netflix’s, BoJack Horseman,
quarantine first began late March.
Our shadows are that internal part of our being that strikes out
We had been discussing our vices and bad habits that we struggle
from re-experiencing whatever trauma that birthed that shadow.
with, hardwired responses that we learned in childhood as
defensive mechanisms needed to survive that now were rearing their ugly heads in adulthood where they are no longer needed, causing us to self-sabotage without even realizing it.
Being indoors forced me to examine these bad habits that I have,
aspects of who I am as a woman in her mid-20s, and the many complex nuances and conflicting natures within me.
The not-so-beautiful and insidious parts of my personality in relation to how I view the world, myself, my interpersonal
when we feel threatened or scared. It’s meant to keep us safe Whether it’s healthy or useful is irrelevant in this situation.
For this project, Lonbraj, which means “shadow” in my native tongue Haitian Kreyol, I came face to face with the shadow parts
of myself in front of my lens. The parts that I choose to store away and deal with behind closed doors, not even letting in my closest friends and keeping everyone else at an arm’s distance.
This jekyll and hyde persona is something that we all carry within ourselves; these dual natures are both ultimately part of me.
connections to others and how they all directly correlate to
Imposter syndrome. Substance abuse. Cultural expectations.
exploration for me, now that I cannot distract myself with work.
dysmorphia. Bipolar disorder. Toxic behaviors. Secrets. Shame.
how I was brought up in childhood has been a major theme of
Because of this, I became very well acquainted with my shadow
Self-destructive habits. Abuse. Dissociation. Mood swings. Body And guilt. So much of it.
self these past few months.
Like so many people, there are intergenerational traumas that
The part of myself that I kept stuffing away, wanting so desperately
through DNA long before my family made it to American soil.
to look like the one who had her “shit together” career wise, the one who was always in good spirits, always the shoulder to cry on and gave advice to loved ones who were struggling.
No one realized I have years of internal shit just built up, neatly packaged away where no one could see unless I allowed them
to. And the more I forced myself to appear perfect, especially to
came before me that even I don’t understand, passed down
This the most personal body of work I’ve ever produced. I shot
this back in April and went back and forth on whether I wanted to release it or not because if you know me personally, I’m not the
type to be candid about my own personal inner shit, especially not to people I don’t know like that. Especially not to a publication.
those who don’t know me as well, the more it would ooze out.
With the CDC banning all festivals and concerts for the foreseeable
The more we force ourselves to appear to be “normal” for our
loved ones, the more our inner demons come out to play.
I began to feel like a fraud, resentful and angry. I started pushing myself to create more and more to not feel any of these negative
future, my career in the sense that I know it has been put off
So I stepped in front of the lense in my most raw form. Because it’s all I could do right now.
feelings. I started to lash out and isolate myself.
This project is a self-reflection and liberation. Merging of all
The shadow side of ourselves is a result of nurture; our grandparents
the more favorable parts of my character. Duality. And ultimately,
had the same shadow, passed it down to our parents, who passed it down to us, and if we decide to have offspring, they will end up
parts of myself, integrating the shadow aspects of myself with self-acceptance.
with the same shadow unless we examine ourselves objectively.
The Luna Collective is a platform for the creative community spotlighting a variety of young artists. Our film only magazine highlights talented individuals we come across as well as the work of our readers. The magazine is only one part of The Luna Collective so join us to see what else we get up to.
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THIS ISSUEâ&#x20AC;&#x2122;S TEAM Founder & Editor In Chief: Sophie Gragg Creative Director: Nikoli Partiyeli Graphic Designers: Cassiel Arcilla, Olivia Boryczewski, Jas Calcitas, Will Catto, Shayla Cunico, Khristine Le & Long Nyugen Photographers:
Desrosiers, Simrah Farrukh, Miranda Harrison, Sarah Hesky, Athena Merry, Carianne Older, Jonathan Roensch & Felice Trinidad Writers: Melissa Miller, Martina Taylor & Isabella Vega
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