Thread Magazine Fall/Winter 2020

ISSUE 16

THE NARRATIVE ISSUE

THREAD Thread is an independent student publication funded by SAFC. Thread is the only fashion, lifestyle, and art magazine at Cornell.

Thread is a collection of student art, design, fashion, photography, and writing. Published once per semester, Thread showcases the talents of Cornellians from all disciplines, and works with external organizations on creative collaborations. Thread would also like to thank out faculty advisor, Professor Denise Green.

Web https://threadcornell.com/ Email thethreadmagazine@gmail.com Facebook facebook.com/thethreadmagazine Instagram @threadmag

LETTER FROM THE PRESIDENT

\ I joined Thread my freshman fall. All I knew was that I was interested in fashion, and having been an introverted person my entire life, I had always used my personal style to express myself. But after going to the first meeting, I was immediately intimidated by the number of talented creatives on this campus that I was seeing for the first time — photographers who executed photoshoots on their own, graphic designers who had designed all the posters in their room, and fashion students who had worked in New York Fashion Week. Thread brought all of this talent into one room and created a magazine from scratch. An idea would somehow turn into a physical magazine containing several photoshoots, editorial pieces, and amazing graphic designs, that told a cohesive story to its readers.

Now almost four years later, I have seen this organization grow into a huge platform that strives to motivate creativity in all of its readers and promote important social issues, collaborating

with other student organizations and local businesses to inspire creativity in the world around us. I have also seen myself grow into a strong and confident creator.

Despite being inexperienced when I first joined Thread, Thread has given me the opportunity to express myself without hesitation and take initiative to fulfill my creative vision. I am so grateful to have had the opportunity to lead such a passionate and unbelievably talented group of creatives.

This issue began with the idea of creating our own narrative, and was slowly developed through weekly meetings with members of each team, brainstorming the creative ideation and message for the photoshoots. The creative concepts translated into styling, beauty, and photography ideas that were incorporated into the photoshoot — Thread members acted as stylists, hair and makeup artists, and photographers, while Creative Team members directed the photoshoots. Members of other teams, such as Marketing, Business, Art, and Editorial, collaborated to tie in the photos and the creative message. Finally, the magazine was put together after many hours of photo editing, design, and writing to tell our narrative.

The Narrative Issue is the product of two semesters of preparation and hard work

by Thread members. I hope that this issue motivates you to write and control your narrative. If anything, I hope that this issue inspires you to reflect on what type of narrative you want to create. We are the authors of our own lives. As we move past Thread into the rest of our lives, we must write the narrative by ourselves. We can do anything we want — we just have to pick up the pen.

By Jackie Han, President

FOREWORD In developing the idea for The Narrative Issue, I was inspired by classical character archetypes in literature, theatre, and film.

This issue narrows in on five of the most common character structures that date back to Shakespeare and even as far as Greek Tragedies: The Narrator, The Lover, The Sage, The Creator, And The Outlaw.

These archetypes are reproduced over and over in the stories we are sold and exposed to throughout our lives, but to what extent do they reflect our society as much as they influence it?

Are the representations of these characters in media accurate portrayals of the ways in which we navigate the world, or do they work as classification methods to place us into boxes.

The shoots included in this publication each work toward representing these historical definitions in a new way that comments on modern day popular culture. The images included work to accomplish this by imitating the aesthetic qualities of film stills and draw a lot of visual references from various movies and television genres. Together, the shoots complete a collection of episodic moments in a sort of Thread-esque anthology series.

The Narrator: this shoot looks at how different mediums of image representation and reproduction have defined the way we consume and replicate culture. Both in representing their represpected mediums themselves (News, Film Noir, Television, Tabloid, and Instagram) the subjects act as their own cast of characters in the narration of the story.

The Lover: For the past hundreds of years, romance has seen the same forms of representation, but where do we stand in modern day? Who is being represented on screen as the “perfect couple” and what novels gain attention for their love stories. This shoot aims to represent the joys of romance at their beginnings, upon which a new narrative can arise as two souls come together.

The Sage: Education in the time of Covid has seen so many challenges for so many people. With thousands of lives lost and millions of lives disrupted there are more stories to tell than is there is time to tell them. This shoot sets itself up to take a deep look at the ways in which we navigate “Covid University” during such unprecedented times.

The Creator: Opposing narratives of human creation span the globe and are constantly contested and stand at odds with each other in the media and our everyday lives. This topic has perforated visual and written culture since the dawn of humans, but what does our future look like? In a world of fabricated image and technological revolution, what really is creation? This shoot takes cues from science fiction to tell the story of birth, life, and death in a world of synthetic bodies.

The Outlaw: Situated in a culture dominated by images on which she is acted upon and is not the actor herself, the female body and the female character has been represented as a vessel for domination. This shoot works to visualize an opposing script, where the female characters can take back their power while maintaining their femininity and beauty.

By Gianni Valenti, Creative Director

Caitlyn Park Gianni Valenti Isabel Padilla Bonelli Danielle Harris Lara Harvey Amina Khan Paulina Klubok Sarah Knight Melanie Metz Ben Parker Isabel Rubin Gloria Shi Jaeyoung Shim Marguerite Wang Lily Wass Alec Dinwiddie Thomas Hart Alexandria Kirby-Williams Anna Lu Frey Ranaldo

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NOW SHOWING...

Isabel Padilla Sufiya Ali Melissa Belmont Ona Carranza Steven Cha Diya Chopra-Malik Lior Cole Ava Ghobadian Renee Hoh Han Bing Hu Jeri Kim Aarushi Machavarapu Merón Araia Michael Feigen Sabrina Haertig Angelique Nagovskaya

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Nikki Simonson Isabel Padilla Bonelli Danielle Harris Lara Harvey Amina Khan Paulina Klubok Sarah Knight Melanie Metz Ben Parker Isabel Rubin Gloria Shi Jaeyoung Shim Marguerite Wang Lily Wass Lior Cole Kenny Ortega Malique Papailler Kiseki Quintero

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Juliana DaRoza Gianni Valenti Aditi Agarwal Mary Josephine Ajiduah Lior Cole Lauren Jasper Ben Parker Marina Bernardi Peschard Samira Reddy Rachel Reich Risa Sunakawa Elaine Wang Maren Alison Ogg

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Jackie Han Tyler Brown Ona Carranza Nicole Chen Leah Cohen Caroline Graves Arina Ignatova Grace Lee Patricia Loi Mabel Orhiekhoe Samira Reddy Ramneek Sanghera Courtney Shore Emily Wu Kenny Ortega Sara Tyaba Elaine Wang Sheel Yerneni

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Narrator “The leader of their pack; writes the stories and casts the characters.”

Newspaper

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The fact that certain politicians are women should not be a topic of discussion or debate. Because of our society’s inherent misogyny, the headlines on female politicians are often about her physical appearance, mannerisms and attitude, or family life. Women in politics are always judged based on their hairstyles and clothing choices, which detract attention from their platforms or policy issues. Hillary Clinton was ridiculed by the media for her fascination with pantsuits on the 2016 campaign trail. Alexandra Ocasio Cortez made headlines for her bold fashion choices, including the white suit for the suffragist movement.

The media tends to use clothing choices as proof that a woman is not a capable lawmaker. The media is only reflecting the attitude of many sexists who find women incapable of being leaders. In fact, fashion is powerful and can be used to reinforce messages or the wearers’ character. When a man wears a suit, it is a basic and boring outfit; when a woman wears a suit, it gives off an air of confidence and power. The truth is that powerful men are intimidated by powerful women; women who run for office are more qualified than men who run for office because a woman feels the need to be more prepared and educated in order to face the backlash she will inevitably receive. Fashion, and the media, should empower women in politics, and allow them to be bad-asses and incredible leaders

By Melanie Mets

the world moves, resolute, in its revolutions, and i-I smile for the director.

I check off all of Hollywood’s boxes: the sensuality of sculpted flesh, the pout of puckered lips, the come-hither of hooded eyes. everything is brushed, ironed, and painted into perfection. my pulse falls into the rhythm of the blinking red light. No one knows I spend thousands to curate my appearance; I gain millions through the lies that pass through bleached, straightened teeth and tattooed, injected lips. the arguing, the sobbing, the grunts-all are forgotten when the director snaps for action. I wear my character’s desperation to live so magnificently. the world moves, resolute, in its path, and i-I smile for the crowd. i glide over Hollywood’s carpet: “i’m wearing Prada tonight--of course, i support Gucci--yes, i love my costars--” the names burn on my tongue; my agent beamed in approval behind the reporters. never mind that her handprint brands my wrist, a mark so cleverly hidden by a swathe of gold. what luxurious things--silk and diamonds and everything nice (what are dictators, wars, human right abuses in the grandiose romanticism of Hollywood?) isn’t it so easy to turn your pretty powdered cheek in the face of those who give their blood, sweat, and tears to make a decent living? the world moves, resolute, in its way, and i-I smile for the fans.

I sit in a booth with my costars: ready to film a scene, ready to fake happiness and love and every other emotion that settles warm in your chest. It is terribly easy, despite the knowledge that the girl across from me is being paid and treated only half her worth and the white man next to me holds the world in his palm thanks to a society constructed to give him all the power, all the privilege. the world moves, resolute, because it does, and i-I clench my teeth and smile that perfect Hollywood smile at the camera.

By Marguerite Wang

Film Noir

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Television

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I cried when my boyfriend broke up with me and when my younger brother threw a basketball at my head. I didn’t cry when I read the words “Coronavirus death toll tops 200,000 in US.” Or when I slid to the next headline: “The Other Way COVID Will Kill: Hunger.” The puffy eyes and hiccups of heartbreak and head pain were not worth it when millions of lives were at stake. I quit out to Snapchat.

As we lay in bed trying to find a comfortable position there are lives crumbling. I say crumbling because it is not the swift gunshot murder that removes them within a second, but the weary sigh of letdown after letdown that derives its cruelty from its tedious will to never be stomped out. Ashes sit on the ground that somehow keep gasping oxygen.

So even if everyone isn’t bleeding to death, though some are, their suffering is as constant as the unearthly glow of screens that replaced the stars I fall asleep to at night. And here I am faced with a dichotomy. Two paths. If one is a straight line, the other requires me to walk on foot to Mars. To solve the struggles of people who are designed to struggle, engineered by governments and capitalists working hand in hand. So I let myself be a straight line under blankets that lay below roofs even though I know I could always bend and life is not dichotomous, but really rather branched like the trees once were before they burned down in our war against them.

Most of the time the only impact I leave is on myself. I haven’t slept in days.

By Lilly Wass

Celebrity gossip is the escapism of the 21st century. Elusive insider scoops and intrusive paparazzi snapshots have lured in too many innocent frequenters of nail salons, airport convenience stores, or grocery aisle check-out lines with their bold, yellow headlines. But the occasional rifle through Us Weekly or OK! has shifted from an intermittent indulgence to overwhelming clickbait as tabloids have transitioned online. Social media creates an environment of constant stimulation and content in the form of instagram infographics and subscribable snapchat stories. Snapchat in particular has seamlessly integrated clickbait into user’s personal content, with flashy headlines advertising exclusive scoops shuffled into stories. Any user can attest to the distraction of sponsored content such as the Daily Mail or Billboard News popping up only a click away. These smaller, tabloid news outlets have capitalized on the short attention spans of our generation to attract viewers that might not have sought out that news otherwise. Checking out Kylie Jenner’s latest jet-setting splurge in between private stories has become a guilty pleasure of many of the app’s users, even if unintentionally. But that’s just what tabloid is and always has been, a guilty pleasure. Yet the pleasure can become slightly less guilty when it begins to replace engagement with real news.

In 2018, Snapchat amassed a whopping 79.9 million U.S. users.

Comparatively, Fox News is the leading cable news network in the country, with an average of 3.5 million annual primetime viewers. That means Snapchat has almost twenty three times as many people engaging with its content, clickbait ads and all, than the nation’s most watched cable news network. Intentionally or not, users are ingesting information from Snapchat’s algorithm, information that comes in the form of tabloid gossip. The Daily Mail consistently has headlines such as “Beach, Bikini, and Britney” and “Breaking News: Trump Catches Coronavirus” separated by just one click. Tabloid is supplementing real news by utilizing social media and paparazzi gossip to attract viewership, all while shuffling in real news to… maintain credibility? It’s unclear, but it’s a dangerous game to equate global, political conflicts to the latest instagram influencer’s beach photoshoot.

By Isabel Rubin

Tabloid

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Instagram

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Is Instagram Still Just a “Social” Network?

I think I was thirteen when I created my Instagram account. It was an app all about selfies and filters and showing the rest of your middle school everything you were doing with your #friends.

Since then, the platform has undergone many evolutions, none more dramatic than the one that is currently taking place. In the past eight months, my Instagram feed has transformed from a forgettable stream of party pics into a legitimate means of political activism. And I’m not alone.

Social justice via social media is not a new concept—to say so would be to discount its instrumental role in creating real change all over the world for many years. Take Twitter’s part in the Egyptian Revolution of 2011, the clever ways Chinese citizens use messaging apps to express dissent under strict censorship, or, of course, the role of social media in aiding the Black Lives Matter Movement. That being said, we’ve all (unfortunately) learned to live our life online over these past eight months. School, work, social events—they’ve all become digital. Obviously, our primary form of political engagement has also made the switch. That’s pretty clear. What’s not clear is whether or not online activism, in the way it is happening now, is an altogether positive phenomenon.

On the one hand, I can’t deny that I’d rather see those I follow posting local Black-owned businesses to support than yet another birthday shout out for one of their not-so-close-friends. I’ve learned so much and continue to learn so much from social media that I wouldn’t have otherwise. On the other hand, I worry that uploading a black square has become synonymous with action.

I worry that reposting a list of organizations to donate to has replaced actually donating. I worry that activism confined to the walls of the internet is being deemed “enough”. I worry that the line between performative and authentic activism is being blurred into nonexistence.

By Sarah Knight

lover

“The romantic lead who’s guided by the heart.”

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[So, this is love?]

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[I don’t want anybody else but you...]

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[Do you think this feeling will last forever?]

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[I hope we can always, always be together, you know?]

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sage “A wise figure with knowledge for those who inquire. The mentor.”

Big Red Bloodshed

by Anjeliki Cintron

L

ast fall, a friend and I went to our English professor’s office hours hoping to get caught up on the class material we missed.

His talent for going off on tangents meant that we barely learned anything about the actual lecture, but he did give us a piece of advice that I haven’t forgotten: “The best way to acquire wealth is to inherit it.” In his case, he boasted about a hundred acres of inherited land somewhere in New England. We left his office dumbstruck at how the topic even came up, but our professor’s sage wisdom was undeniably true. The easiest way to become wealthy is to be born wealthy.

$5,738,657 is still in our present endowment, meaning that Cornell continues to benefit from the theft of Native lands, including the Gayogohó:no’ (Cayuga Nation) land on which we currently reside (Cornell American Indian and Indigenous Studies Program). To put it frankly, Cornell’s founding was enabled and funded through the violent displacement of Native peoples, but our university has yet to release a formal acknowledgement or reparations to the tribes from which the land was stolen.

Not only was Cornell’s original acquisition of wealth unethical, but the current expansion of our $7.2 These two themes of inherited wealth and land billion endowment is shrouded in ambiguity and ownership have weighed heavily on me as I’ve questionable investments. Transparency has been thought about Cornell, its founding, and the way an issue when trying to uncover more information it’s currently operating. Upon arriving at Cornell, about our investments–the quarterly reports most students will learn about its status as a land released by the Office of University Investments grant university, but the school isn’t as transparent only show the Net Total Returns of a handful about how the land grant came to be. The Morrill of investment indices, which leaves out exactly Act of 1862 set aside federal lands for the creation how much of the endowment is invested in each of agriculturally-focused colleges, which allowed company, and what the companies even are.

Cornell to be founded two years later (US Senate). Further research is required to figure out where The “federal lands” used by colleges, however, the Board of Trustees have chosen to invest the were lands stolen from Indigenous nations--in endowment--for example, one index listed on the Cornell’s case, these nations include the Ojibwe, quarterly report is the S&P 500, which is comprised Miwok, Yokuts, Dakota, and others. Cornell’s of stocks from 500 companies, including Amazon original endowment of $5,738,657 was made from and ExxonMobile. The Board of Trustees is doing the sale of 977,909 acres of land in the Midwest everything in their power to accumulate more and and West, which broke 63 treaties with Indigenous more wealth, including investing in companies nations (High Country News). The original infamous for exploiting human labor and wreaking

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destruction on the environment. However, even though they’ve achieved that wealth, services vital to student wellbeing, such as CAPS, are continually left underfunded.

Cornell’s Board of Trustees have made it their sole purpose to return a profit on the university’s endowment, but in the time of COVID-19, the $7.2 billion hasn’t been tapped to help students. Last spring, students panicked after being sent home, and some even filed lawsuits over the fact that Cornell wouldn’t be partially refunding last year’s tuition, decreasing tuition for our now-hybrid semester, or abolishing the student contribution (The Cornell Daily Sun). Because of the restrictions placed on the endowment’s utilization, none of that money was able to be allocated to financially support students, and instead we had to rely on the CARES packages–which were lacking and delivered late to many students. This pandemic has only exacerbated the already present inequality on campus, not only in terms of financial inequality, but also in terms of mental health.

Having to quarantine and devote most of your time to class and work can, and has, taken a toll on students’ mental health. With only 46 CAPS staff for about 24 thousand undergraduates, graduates, and professional students (that’s about 522 students per CAPS counselor), it’s incredibly difficult to schedule appointments

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that occur on a weekly basis or even last longer than 25 minutes. The campus community has expressed dissatisfaction with this imbalance in past semesters, but now more than ever the lack of access to mental health care is taking a toll on the student body (The Cornell Daily Sun). With so much student pressure to reform the mental health services at Cornell, it’s been discouraging to see that even in a period marked by exceptional struggle, the administration has yet to hire an adequate amount of staff members and prioritize the wellbeing of the students.

CAPS is just one of many services that could be receiving more funding from the school but are being neglected. While Cornell sits on billions of dollars of blood money that only existed in the first place because of violence against Indigenous peoples, students are struggling with mental health, paying rent, buying food, and just keeping up with rigorous classes. The massive inequalities between students and Cornell’s administrators can be daunting and depressing to think about, but we have to remember that this school wouldn’t have a purpose without its students. We deserve accountability and transparency from the institution meant to teach us and take care of us. We must demand justice for the communities torn apart by Cornell’s acquisition of wealth. We must uplift each other in the face of so many barriers, and we must take care of our own community.

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C R E AT O R “A motivated visionary who creates art or structures during the narrative.”

( trapped ) Held tightly by something so that it cannot move or be freed.

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( birth ) The process of coming into ones self; emergence.

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( self ) A person’s essential being that distinguishes them from others.

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( forge ) Create new conditions.

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( spirit ) The nonphysical part of a person which is the seat of emotions and character; the soul.

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OUTLAW

“The rebel who won’t abide by society’s demands.”

Spider

by Nicole Chen Do you hear that?

She does. It’s the clock above the marbled mantelpiece. It clings to slate-gray patterned wallpaper that screams modern and wealthy obscenities at her. But the clock itself is old, or maybe he’d call it vintage. Its face is beige where it should be white, and the hand that points to a faded XI is skinny and fragile. It ticks obtrusively, and the longer she listens to it, the louder it grows.

What an ugly house.

No one else seems to hear it. He certainly doesn’t. Her supervisor has been flitting in and out of their co-workers’ conversations for the past hour. He hasn’t looked at her yet. Her long, brown coat probably makes her look smaller against the red armchair.

She has only seen two other women here tonight.

Her supervisor’s invitation had been companywide, but what sane woman would want to come here? This is where men come to talk—cocktail parties—about sports, about wine, about work, about women. A woman is just as invisible here as in the office.

When the ticking is almost deafening to her ears, she has had enough. She unbuttons her coat and sets it gently on the cushion behind her as she stands up. It looks child-like against the plush red velvet. Perhaps she will leave it here for him when she leaves. She finds him again easily, and with her shoulders pushed back and head tilted slightly upward, she walks past him. He looks up.

Easy.

She allows him to follow her up the stairs. She finds a bathroom in the first door on the right and slips inside, closing the door softly behind her.

She can’t see a light switch immediately, but the

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large mirror behind the sink is backlit with a cool cobalt light. Her blue reflection looks back at her. From here, she can see the hollows of her collarbones and the shape of her breasts as they press against the low lacey neckline of her dress.

The dim light carves curves in her figure where the blanch light of the living room washed them out. She traces circles on the hemline of her dress with her fingers as she waits. He opens the door, bathing himself in blue light.

As he stares at her, she thinks about becoming a spider. To be free from this dress and naked, to grow four more limbs and six more eyes. Would he be afraid of her then? Would he scream?

Would it matter? She could spin a web around his throat, her legs locking him in place. She could immobilize him, blind him. She could take away his voice, his thoughts, his freedom. She’d transform, and she’d be beautiful, but not to him.

He is looking at her because he wants to fuck her. His eyes are on her skin, and even in this low blue light, she can see the animalistic motive in his gaze. His hand is on her wrist and he says something to her, or maybe it was a question, but she doesn’t hear it. She doesn’t need to. He is already pulled in, maybe partly by the wine in his veins, but mostly by this provocative, blue glow.

Should I? She could. It’s so close now. She could have him, hold him like spider cradles fly.

But she doesn’t. She doesn’t need to. She pushes past him and suddenly she is no longer blue. She turns back to look at him. On him, blue looks sad.

As she leaves the house, she wonders if the other women here are also spiders. She can no longer hear the mantelpiece clock ticking over the hum of vapid conversation. The hand now points to XII. She leaves her coat.

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Shame be Damned

by Ramneek Sanghera warning 1: The tongue was shaped for man to speak, not for you. warning 2: Cover up. Don’t give them a reason to rape you. warning 3: Pray until your dying breath.

Otherwise you will anger my god. warning 4: Boys only marry intelligent girls, unlike you. warning 5: Only whores wear clothes like that and you aren’t a whore. warning 6: My god says your hair is a blessing from the heavens so you can’t cut it. warning 7: Be careful. Eat more but not so much where you become fat like your aunt. warning 8: You shouldn’t swear. Boys don’t marry girls who swear. warning 9: Working is a man’s duty, not yours. warning 10: Humble and penitent.

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lesson 1: I have a mind filled to the brim with words and ideas; they swim to my heart and bones and lungs. If I don’t drain them by way of my tongue, my lungs will fill, and my words will drown me. lesson 2: My skin is soft; my nails are sharp. I may claw but I also bite. Teach your sons to look away because if they come my way, I’ll have the last say. lesson 3: My god says fuck your god. lesson 4: My hand cramps, grip tight around a too new pencil. Pencil touches paper but words do not take shape. My mind screams in frustration, words and ideas pounding against a prison of flesh and bone. I curse men for creating a world in which I am only valuable so long as I can find a husband, and I vow that anything I do is for myself and for spite. lesson 5: My body is a temaple and I am its god. My god decides how to adorn it. Do not dare to presume her desires. And if need be sacrifices will be made for my god.

lesson 6: The pavement burns my feet and my mascara is dripping down my face and I’m turning into a puddle in the middle of street, my hair dragging me down. A falcon swoops down, its claws slicing through the thick mane of hair, and I’m flying alongside it. lesson 7: I’m drying up, the air being sucked out as I’m an old birthday balloon. But then someone is exhaling and pushing air inward and I’m swelling. And then I am exhaling and inhaling, and it is at my choice. lesson 8: Fuck. Shit. Bitch. Cunt. These are my words, and I’ll use them as I please. lesson 9: Squinting up at the blinding screen and down at the blurred pages, I toiled away each night and each morning, glimpsing the sunrise before I rest. A man can work but no man possesses the passion I carried on late nights and early mornings that still persists. A man can replicate, but only I can create art. lesson 10: Hidden and patient.

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CAST + CREW

President Jackie Han Vice President Nikki Simonson Art Director Maddie Woo Art Team Angela Chang Lior Cole Lauren Jasper Beauty Diector Samira Reddy Beauty Team Lara Harvey Amina Khan Patricia Loi Elaine Wang Emily Wu Business Director Gabriella Estrada Business Team Gabbie Lee Sellina Lin Zaira Paredes Jessica Yan Creative Director Gianni Valenti Creative Team Aditi Agarwal Ona Carranza Diya Chopra-Malik Lior Cole Ava Ghobadian Arina Ignatova Samantha Kaplan Paulina Klubok Grace Lee Aarushi Machavarapu Sarina Matson Ramneek Sanghera Risa Sunakawa Kiara Taylor Collabs Director Caitlyn Park

Editorial Director Lilly Howes Editorial Team Nicole Chen Angeliki Cintron Michael Feigen Sarah Knight Angelique Nagovskaya Melanie Metz Isabel Rubin Ramneek Sanghera Marguerite Wang Lily Wass Managing Director Juliana DaRoza Marketing Director Amanda He Marketing Team Sarah Bastos Marinna Chung Maria Jordan Joelle Ramson Courtney Shore Kate Wang Photo Director Isabel Padilla Bonelli Photo Team Natasha Aysseh Marina Bernardi Tyler Brown Bella Castaneda Steven Cha Leah Cohen Valentina Dai Dana Gong Caroline Graves Chelsea Han Danielle Harris Renne Hoh Liza Koman Helen Li Michelle Li Tricia Park Joelle Ramson Gloria Shi Hali Shin Styling Director Aarushi Machavarapu Styling Team Mary Josephine Ajiduah Melissa Belmont Ona Carranza Jeri Kim Jacqueline Navas Mabel Orhiekhoe Rachel Reich Jaeyoung Shim Courtney Shore

So, who’s writing your narrative?