The WALK Fall/Winter 2023

THE

ENTROPY

ISSUE

FALL/WINTER 2023

Adelyn Chen Editor-in-Chief Sarahbelle Kim, Darya Ameri, Victoria Rosa Creative Directors Abby Portnoy Editorial Director

Olivia Kim Photography Director

Solunna Nwankwo, Grace Holden Marketing Directors

Antonia Solar, Jackie Hu Art Directors Sarah Li Finance Director

Hansie Wang Social Media Director

Rene Chen Videography Director

Valentina Chang Operations Director

Lola Thrower Web Director

EDITORIAL Feature Editors Sonia Mehta, Ujjayi Pamidigantam, Redina Rapi, Naya Majeed, Catherine Sorrentino, Angelie Rodriguez Copy Editors Eunice Chong, Alexandra Kanan, Sydney Kim, Emily Xi, Mariam Rizvi, Enise Kupa Staff Writers Lucas Brienza, Shritha Mandava, Cynthia Schneider, Olivia Yun, Elizabeth Collins, Nathan Cronin, Logan Yuhas, Zara Tena Contreras, Saskia Rista-Brettler, Rachel Lee WEB EDITORIAL Website Managing Editor Zoe Millstein · Website Tech Analysts Caroline Begg, Sophie Kadan, Allie Fehr Editors Kemi Ogunyankin, Elisabetta Araya, Taiwo Adeaga, Angelina Sali, Bianca Rodriguez Health & Beauty Writers Anjeli de Blank, Maria Wahba, Clara Baurmeister Fashion Writers Sierra Marelia, Tiffany Li, Grace Dudek, Paige Gibbons, Moira Connell, Malia Sanghvi Writers Violette Dorff, Lara Blott Wickins, Marcus Meshechok, Zaara Shafi, Gaia de Sanctis, Anna Bingle VIDEOGRAPHY Videographers Hannah Hamdani, Oscar Vasquez, Erica Wiguna, Raine Zhao Video Editors Sophia Nehme, Jack Rogers, Atticus Lim, Inbal David, Sophie Shao TikTok Videographer Alexa Petrosh · TikTok Editor Kayla Kramer PHOTOGRAPHY Photographers Priya Bhavikatti, Giuliana Alleva, Jasmine Sun, Amanda Herrera, Intel Chen, Tina Zhang, Matthew Schwartz, Zara Baig, Amy Zhou, Erica Wiguna STYLING AND BEAUTY Beauty Stylists Adya Gupta, Olivia Wendel, Riya Sinha, Neha Jain Fashion Stylists Dylan Walker, Victoria de la Rosa, Jojo Buccini, Kailah A’Janae Hester, Daniel Van Rooyen, Grace Dudek, Tony Zhang, Tarini Ruia, Jackie Errera, Aly Kerrigan MARKETING Campus Engagement Coordinators Giselle Wagner, Bhavana Chamarthi, Irene Kim, Raymond Liu Brand Outreach Coordinators Jasmine Ghambir, Myles Dismont Robinson, Samina Kaushek, Henry Terlevich, Zida Anyachebelu SOCIAL MEDIA Engagement Managers Anna Metzger, Katherine Kim, Irene Pak, Grace Rhatigan, Ash Wright, Suzie Kim, Daria Benjamen TikTok Specialists Alexa B Petrosh, Emma Luo, Yash Mahajan FINANCE Senior Sponsorship Analyst Claudia Bellacosa · Analysts Kate Cunha, Wendi Song, Dylan Breier, Amanda Cui, Yana Sokivka, Tvisha Baxi, Christina Nguyen, Hanna Yang, Tatiana Piterbarg, Li Yam Kreiz, Nicole Diner, Rei Tangkijngamwong, Ellen Zhang, Alivia Jiang, Isa Kesselhaut, Sofia Wawrzyniak, Rhea Thapar, Shreya Sharma, Janet Fu ART AND DESIGN

Copyright © 2023 The WALK Magazine. All rights reserved. Stories edited by the editorial staff will carry bylines of the original author. Unless noted otherwise, all content is produced by The WALK teams. Please report corrections to thewalkmag@gmail.com. We will post corrections on our website, at www.thewalkmag.com.

The University of Pennsylvania’s premier fashion magazine, The WALK was founded in 2006 as a student initiative and continues to be a student fueled organization. The WALK Online was launched in 2010 as a sister to the print edition. The WALK aims to satisfy our community’s widely-demanded fashion fix year-round.

Illustrators Ellen Zhang, Atticus Lim, Maddy Davis, Isha Bhandaru Designers Isha Bhandaru, Louise Wang, Isabella Risoli, Yvette Yao, Olivia Hu, Isabel Regueiro OPERATIONS Social Chairs Sam Salcedo Martinez, Josh Mukherjee · Operations Coordinators Noor Majeed, Erika Kurre Lead Merch Coordinator Madolin Bergman · Merch Designers Jaein Kim, Isabella Turri

To get involved or learn about advertising and partnership opportunities, please contact us at thewalkmag@gmail.com.

2

The WALK Magazine

Fall 2023

The Entropy Issue

3

FALL/WINTER 2023

Adelyn Chen Editor-in-Chief Sarahbelle Kim, Darya Ameri, Victoria Rosa Creative Directors Abby Portnoy Editorial Director

Olivia Kim Photography Director

Solunna Nwankwo, Grace Holden Marketing Directors

Antonia Solar, Jackie Hu Art Directors Sarah Li Finance Director

Hansie Wang Social Media Director

Rene Chen Videography Director

Valentina Chang Operations Director

Lola Thrower Web Director

EDITORIAL Feature Editors Sonia Mehta, Ujjayi Pamidigantam, Redina Rapi, Naya Majeed, Catherine Sorrentino, Angelie Rodriguez Copy Editors Eunice Chong, Alexandra Kanan, Sydney Kim, Emily Xi, Mariam Rizvi, Enise Kupa Staff Writers Lucas Brienza, Shritha Mandava, Cynthia Schneider, Olivia Yun, Elizabeth Collins, Nathan Cronin, Logan Yuhas, Zara Tena Contreras, Saskia Rista-Brettler, Rachel Lee WEB EDITORIAL Website Managing Editor Zoe Millstein · Website Tech Analysts Caroline Begg, Sophie Kadan, Allie Fehr Editors Kemi Ogunyankin, Elisabetta Araya, Taiwo Adeaga, Angelina Sali, Bianca Rodriguez Health & Beauty Writers Anjeli de Blank, Maria Wahba, Clara Baurmeister Fashion Writers Sierra Marelia, Tiffany Li, Grace Dudek, Paige Gibbons, Moira Connell, Malia Sanghvi Writers Violette Dorff, Lara Blott Wickins, Marcus Meshechok, Zaara Shafi, Gaia de Sanctis, Anna Bingle VIDEOGRAPHY Videographers Hannah Hamdani, Oscar Vasquez, Erica Wiguna, Raine Zhao Video Editors Sophia Nehme, Jack Rogers, Atticus Lim, Inbal David, Sophie Shao TikTok Videographer Alexa Petrosh · TikTok Editor Kayla Kramer PHOTOGRAPHY Photographers Priya Bhavikatti, Giuliana Alleva, Jasmine Sun, Amanda Herrera, Intel Chen, Tina Zhang, Matthew Schwartz, Zara Baig, Amy Zhou, Erica Wiguna STYLING AND BEAUTY Beauty Stylists Adya Gupta, Olivia Wendel, Riya Sinha, Neha Jain Fashion Stylists Dylan Walker, Victoria de la Rosa, Jojo Buccini, Kailah A’Janae Hester, Daniel Van Rooyen, Grace Dudek, Tony Zhang, Tarini Ruia, Jackie Errera, Aly Kerrigan MARKETING Campus Engagement Coordinators Giselle Wagner, Bhavana Chamarthi, Irene Kim, Raymond Liu Brand Outreach Coordinators Jasmine Ghambir, Myles Dismont Robinson, Samina Kaushek, Henry Terlevich, Zida Anyachebelu SOCIAL MEDIA Engagement Managers Anna Metzger, Katherine Kim, Irene Pak, Grace Rhatigan, Ash Wright, Suzie Kim, Daria Benjamen TikTok Specialists Alexa B Petrosh, Emma Luo, Yash Mahajan FINANCE Senior Sponsorship Analyst Claudia Bellacosa · Analysts Kate Cunha, Wendi Song, Dylan Breier, Amanda Cui, Yana Sokivka, Tvisha Baxi, Christina Nguyen, Hanna Yang, Tatiana Piterbarg, Li Yam Kreiz, Nicole Diner, Rei Tangkijngamwong, Ellen Zhang, Alivia Jiang, Isa Kesselhaut, Sofia Wawrzyniak, Rhea Thapar, Shreya Sharma, Janet Fu ART AND DESIGN

Copyright © 2023 The WALK Magazine. All rights reserved. Stories edited by the editorial staff will carry bylines of the original author. Unless noted otherwise, all content is produced by The WALK teams. Please report corrections to thewalkmag@gmail.com. We will post corrections on our website, at www.thewalkmag.com.

The University of Pennsylvania’s premier fashion magazine, The WALK was founded in 2006 as a student initiative and continues to be a student fueled organization. The WALK Online was launched in 2010 as a sister to the print edition. The WALK aims to satisfy our community’s widely-demanded fashion fix year-round.

Illustrators Ellen Zhang, Atticus Lim, Maddy Davis, Isha Bhandaru Designers Isha Bhandaru, Louise Wang, Isabella Risoli, Yvette Yao, Olivia Hu, Isabel Regueiro OPERATIONS Social Chairs Sam Salcedo Martinez, Josh Mukherjee · Operations Coordinators Noor Majeed, Erika Kurre Lead Merch Coordinator Madolin Bergman · Merch Designers Jaein Kim, Isabella Turri

To get involved or learn about advertising and partnership opportunities, please contact us at thewalkmag@gmail.com.

2

The WALK Magazine

Fall 2023

The Entropy Issue

3

08

Sabato de Sarno’s Gucci When “quiet luxury” goes too quiet

10

Last Night’s Makeup & Messy Hair Embracing fashion imperfection and the ‘messy girl’ aesthetic

12

Uniform PHOTO ESSAY

20

Black Swan: Entropy In the Spotlight

Cover Look: ENTROPY

Runway Stunts: Clickbait or Fashion?

As children, we long for the control that adulthood seems to promise, only for it to elude us year after year. The more we learn, the more there is to learn; the more decisions we make, the more we have to make. Entropy, a measure of disorder, is the lens through which we explore this fundamental truth. In physics, the laws of thermodynamics dictate that the entropy of a system can only increase over time. In other words, because time only moves in one direction, all actions are irreversible—and thus the only constant in life is change.

A tortured artist striving for perfection 22

The history of runway performance art 24

Breaking Pointe: Dior Haute Couture to Balletcore The historical pas de deux of ballet and fashion

26

Elegant PHOTO ESSAY

34

Meticulous Madness of Myra Magdalen

A review of Myra Magdalen’s creative styling, obsession with worms, and new clothing brand 38

A World Without Cyclicity What if fashion trends cease to exist?

40

Casa Vida: Unveiling Sustainable Style A glimpse into a vibrant Philadelphia boutique

43

Eclectic PHOTO ESSAY

52

Embracing the Eclectic

To reflect this inherent directionality, each page in the Entropy issue is intentionally positioned, and the magazine is designed to be read sequentially.

Our cover look, captured during our “Eclectic” shoot, is a teasing glimpse into the deliberate frenzy that unfolds throughout the magazine. Shrouded in mystery yet inviting, it serves as a doorway to a narrative where chaos takes center stage.

View more on page 43.

Unconventional designs in fall fashion 54

From Alienation to Authenticity

A chat with Dysfunctional District’s founder and creative director, Salim Roland 56

The Making of the Multiverse

Behind the visual effects in “Everything Everywhere All At Once” 58

Chaotic PHOTO ESSAY

64

What cinematic universe is this?

Tracing trends in new cinema, and its descent into disarray

4

The WALK Magazine

Fall 2023

The Entropy Issue

5

08

Sabato de Sarno’s Gucci When “quiet luxury” goes too quiet

10

Last Night’s Makeup & Messy Hair Embracing fashion imperfection and the ‘messy girl’ aesthetic

12

Uniform PHOTO ESSAY

20

Black Swan: Entropy In the Spotlight

Cover Look: ENTROPY

Runway Stunts: Clickbait or Fashion?

As children, we long for the control that adulthood seems to promise, only for it to elude us year after year. The more we learn, the more there is to learn; the more decisions we make, the more we have to make. Entropy, a measure of disorder, is the lens through which we explore this fundamental truth. In physics, the laws of thermodynamics dictate that the entropy of a system can only increase over time. In other words, because time only moves in one direction, all actions are irreversible—and thus the only constant in life is change.

A tortured artist striving for perfection 22

The history of runway performance art 24

Breaking Pointe: Dior Haute Couture to Balletcore The historical pas de deux of ballet and fashion

26

Elegant PHOTO ESSAY

34

Meticulous Madness of Myra Magdalen

A review of Myra Magdalen’s creative styling, obsession with worms, and new clothing brand 38

A World Without Cyclicity What if fashion trends cease to exist?

40

Casa Vida: Unveiling Sustainable Style A glimpse into a vibrant Philadelphia boutique

43

Eclectic PHOTO ESSAY

52

Embracing the Eclectic

To reflect this inherent directionality, each page in the Entropy issue is intentionally positioned, and the magazine is designed to be read sequentially.

Our cover look, captured during our “Eclectic” shoot, is a teasing glimpse into the deliberate frenzy that unfolds throughout the magazine. Shrouded in mystery yet inviting, it serves as a doorway to a narrative where chaos takes center stage.

View more on page 43.

Unconventional designs in fall fashion 54

From Alienation to Authenticity

A chat with Dysfunctional District’s founder and creative director, Salim Roland 56

The Making of the Multiverse

Behind the visual effects in “Everything Everywhere All At Once” 58

Chaotic PHOTO ESSAY

64

What cinematic universe is this?

Tracing trends in new cinema, and its descent into disarray

4

The WALK Magazine

Fall 2023

The Entropy Issue

5

Letter from the

THE WALK

WEB FEATURES

editor

FALL/WINTER 2023

At the beginning of Greta Gerwig’s critically acclaimed Barbie, the stereotypical Barbie (Margot Robbie) faces a dilemma. “You can go back to your regular life, or you can know the truth about the universe. The choice is now yours,” Weird Barbie (Kate McKinnon) declares to her, presenting a glittering pink high heel in one hand and an archetypal brown Birkenstock shoe in the other. Anxious, the stereotypical Barbie decides without missing a beat: “The first one. The high heel.” This is, of course, the wrong answer for narrative purposes, and Weird Barbie retorts, “You have to want to know. Okay? Do it again.”

Though Barbie’s “decision” is meant to provide comedic relief, it certainly reflects human instinct. Across universes—cinematic and our own—we seek shelter from ever-present mayhem. After all, to be certain is to be familiar, and to be familiar is to be comfortable. But rather than escaping the chaos, what if we chose to embrace it? This question is at the core of the Entropy issue; at a time when no decision seems to be the right one, we hope to find an answer in the chaos itself. To us, entropy is the essence of unpredictability, a waltz with the unknown.

This season’s issue begins in a state of structure, with angular silhouettes and industrial backdrops taking center stage in our “Uniform” photoshoot. Lucas Brienza’s (‘24) “Black Swan: Entropy in the Spotlight” examines the whirlwind psychological journey of Nina Sayers, the protagonist in the 2010 film Black Swan. Saskia Rista-Brettler (‘25) chronicles the centuries-long evolution of ballet clothing in her article “Breaking Pointe: Dior Haute Couture to Balletcore”; this serves as a lovely prologue for the “Elegant” photoshoot, which represents a shift toward fluidity without compromising order. The shoot juxtaposes functional ballet attire with the recently popularized balletcore aesthetic, featuring Penn Ballet’s Shiny Shen (‘25) and one of The WALK’s very own Creative Directors, Victoria Rosa (‘24).

The “Eclectic” photoshoot showcases vibrant jewelry and clothing from Casa Vida, a local Philadelphia boutique.

It is accompanied by an interview with the boutique’s owner, Linda Smyth, in Nathan Cronin’s (‘26) article “Casa Vida: Unveiling Sustainable Style.” In “From Alienation to Authenticity,” Editorial Director Abby Portnoy (‘25) dives into dysfunctional fashion, through a conversation with designer and recent Penn graduate Salim Roland (‘22). Our final photoshoot, “Chaotic,” is the destination of our entropic evolution; it takes inspiration from Oscar-winning 2022 blockbuster Everything Everywhere All At Once, harnessing the colors and eccentricities intrinsic to Philadelphia.

6

The WALK Magazine

Fall 2023

The WALK is a team of more than 150 brilliant writers, photographers, stylists and more, each of whom I am incredibly honored to work with. Their efforts extend beyond the pages of this magazine: our videographers, under the direction of Rene Chen (‘24), artfully capture the behindthe-scenes of our production; our web editorial, supervised by Lola Thrower (‘24), continues to release topical, fashion-forward content; and our social media team, led by Hansie Wang (‘24), nurtures The WALK’s presence on campus and beyond.

I feel so blessed to be surrounded by such talented and hardworking individuals, and producing this issue has filled me with unbridled joy.

In a world so obsessed with order and perfection, Entropy embraces change. As you leaf through this issue, I invite you to savor the raw beauty of life’s twists and turns, and to celebrate the marks of time.

With love,

Adelyn Chen Editor-in-Chief

The Entropy Issue

7

Letter from the

THE WALK

WEB FEATURES

editor

FALL/WINTER 2023

At the beginning of Greta Gerwig’s critically acclaimed Barbie, the stereotypical Barbie (Margot Robbie) faces a dilemma. “You can go back to your regular life, or you can know the truth about the universe. The choice is now yours,” Weird Barbie (Kate McKinnon) declares to her, presenting a glittering pink high heel in one hand and an archetypal brown Birkenstock shoe in the other. Anxious, the stereotypical Barbie decides without missing a beat: “The first one. The high heel.” This is, of course, the wrong answer for narrative purposes, and Weird Barbie retorts, “You have to want to know. Okay? Do it again.”

Though Barbie’s “decision” is meant to provide comedic relief, it certainly reflects human instinct. Across universes—cinematic and our own—we seek shelter from ever-present mayhem. After all, to be certain is to be familiar, and to be familiar is to be comfortable. But rather than escaping the chaos, what if we chose to embrace it? This question is at the core of the Entropy issue; at a time when no decision seems to be the right one, we hope to find an answer in the chaos itself. To us, entropy is the essence of unpredictability, a waltz with the unknown.

This season’s issue begins in a state of structure, with angular silhouettes and industrial backdrops taking center stage in our “Uniform” photoshoot. Lucas Brienza’s (‘24) “Black Swan: Entropy in the Spotlight” examines the whirlwind psychological journey of Nina Sayers, the protagonist in the 2010 film Black Swan. Saskia Rista-Brettler (‘25) chronicles the centuries-long evolution of ballet clothing in her article “Breaking Pointe: Dior Haute Couture to Balletcore”; this serves as a lovely prologue for the “Elegant” photoshoot, which represents a shift toward fluidity without compromising order. The shoot juxtaposes functional ballet attire with the recently popularized balletcore aesthetic, featuring Penn Ballet’s Shiny Shen (‘25) and one of The WALK’s very own Creative Directors, Victoria Rosa (‘24).

The “Eclectic” photoshoot showcases vibrant jewelry and clothing from Casa Vida, a local Philadelphia boutique.

It is accompanied by an interview with the boutique’s owner, Linda Smyth, in Nathan Cronin’s (‘26) article “Casa Vida: Unveiling Sustainable Style.” In “From Alienation to Authenticity,” Editorial Director Abby Portnoy (‘25) dives into dysfunctional fashion, through a conversation with designer and recent Penn graduate Salim Roland (‘22). Our final photoshoot, “Chaotic,” is the destination of our entropic evolution; it takes inspiration from Oscar-winning 2022 blockbuster Everything Everywhere All At Once, harnessing the colors and eccentricities intrinsic to Philadelphia.

6

The WALK Magazine

Fall 2023

The WALK is a team of more than 150 brilliant writers, photographers, stylists and more, each of whom I am incredibly honored to work with. Their efforts extend beyond the pages of this magazine: our videographers, under the direction of Rene Chen (‘24), artfully capture the behindthe-scenes of our production; our web editorial, supervised by Lola Thrower (‘24), continues to release topical, fashion-forward content; and our social media team, led by Hansie Wang (‘24), nurtures The WALK’s presence on campus and beyond.

I feel so blessed to be surrounded by such talented and hardworking individuals, and producing this issue has filled me with unbridled joy.

In a world so obsessed with order and perfection, Entropy embraces change. As you leaf through this issue, I invite you to savor the raw beauty of life’s twists and turns, and to celebrate the marks of time.

With love,

Adelyn Chen Editor-in-Chief

The Entropy Issue

7

SABATO DE SARNO’S

GUCCI

WRITTEN BY LOGAN YUHAS DESIGNED BY ANTONIA SOLAR

Sellable doesn’t always equal good

I

love minimalism, but I’m disappointed when people get it wrong. That’s exactly what I feel Sabato de Sarno is doing to Gucci as their new creative director. He’s making boring clothes that don’t fit well in an oversaturated minimalist market, now harkened as “Quiet Luxury” or “Wealth Whispers”. It can be frustrating to some to have an onslaught of ‘classic’ silhouettes done in high-end fabrics, but that trend is what happens when the rich and influential don’t want to be flashy in a recession.

Look at the early ‘90s or right after 2008, for example, and you’ll get ultrawearable clothes on those runways, too.

De Sarno’s SS24 collection stands apart, since it lacks the sense of worldbuilding and tailoring associated with luxury. At the start, Look 1 appears to be closet basics arranged together, the only original detail is a bow in the back, which is hidden when wearing the trenchcoat. I will admit it’s subversive to hide the ornament in an era of social media and instant gratification, but it’s also unseen off the runway. The subtlety does not make it seem worth the

8

The WALK Magazine

Fall 2023

price tag, except the not-so-subtle Gucci logo on the lining (a personal design gripe I have: I see relying on logos to be a weak move). Fit-wise, the sleeves are too long; they are bunched up in a way that it looks like the model borrowed her dad’s jacket, which, while it can look chic, makes it hard for consumers to find the right size.

Look 2 is my least favorite look. The bodice suggests and exaggerates the idea of areolas, something I’ve never heard of as appealing. The cut simultaneously would look unflattering to women of all sizes, especially given the textile chosen,

something it shares with the bralettes of other looks. The fabric choice and poor fit is a recurring fault of the collection. In trying to appear luxurious, many looks’ heaviness reads as stiff and uncomfortable, like the model is wearing a polyester napkin or inflexible acrylic. This choice makes a loselose situation, with imaginably quizzical fittings for all sizes and uncomfortable weights for often strapless pieces.

My biggest irk with his collection, beside the ill-fitting clothes, is the way he seeks to further commercialize the runway. In many high-end brands, the looks on the runway are not exactly what is brought to and sold in stores, even if it is presented as “ready-to-wear”. The looks are whittled down to pieces available in the typical range of sizes (00-12) and can be recreated en masse, called “product”.

What I see from de Sarno is an attempt to make the product itself the runway collection, something more typical of a premium brand like Michael Kors or Tory Burch, but a step down from the high luxury of a heritage brand like Gucci. Not only is it tarnishing the reputation of the brand image, but it’s also a subtle attack on the runway as art. He’s hiding the details that make it artful from the view of the in situ audience. While the runway’s purpose is to build buzz and sales for the brand, this over-commodification travesties the fleet of artisans in the Gucci universe.

In all fairness, the accessories, the cash cow of many luxury brands, were

respectable. To preface, including accessories on the runway is a typical “necessary evil” commercialization to make money. The clothes catch the eyes of the consumers, but they buy the glasses and bags and jewelry (and perfumes) because they are a more accessible entrypoint into the brand’s world. In this collection, the oversized bit necklace and earrings are quite chic, and noticeably Gucci without relying on the logo. Gucci started as a leather goods company, mainly for horse/stable gear, and so the horsebit and other equestrian details are a motif of the brand, and it was nice to see them presented on their own in a new way. The shoes are not my speed, but I appreciate that he committed to the platform, patentleather loafer idea for so many looks. I know there are many customers out there for this footwear, and they are an original take on the chunky oxfords of indie sleaze, which is in the infancy of revival. The bags are nice too—high quality and utilitarian.

I’m sure many people will eye those, as, after all, Gucci really only makes money off of accessories (and fragrances). There’s an argument to be made that maybe it was a subtle collection to emphasize the sellable goods; to me, I find that easily knocked down by the clothes being not visually stimulating in photos, so the lack of organic promotion from social media and the like nullifies the assertion it was to spread the accessories. They won’t be shared without full looks to back them up.

A look I really want to like is look 34.

The dress is cashing in on the transparency trend right now, but cleverly plays on the Gucci grosgrain by rendering it as a light fishnet-like pattern overlaid on the sheer dress. The patent leather shorts worn underneath are another subversion of a trope, the idea of “leather-and-lace”, even if that material seems uncomfortable as bottoms. By making the leather patent, it almost appears to beckon a sense of sexuality in its luster—very Tom Fordera Gucci—more than leather alone would. The jacket is the part that fails. He makes it garish by adding the grosgrain all-over it, a denial of the minimal design he trumpets and a rehashing of the “logo mania” craze, something that is ill-suited to the “quiet luxury” space.

I don’t hate Sabato de Sarno; his passion for his work over an already impressive career is commendable. And he is very up-front about what he wants to do, telling The Cut, “People will maybe say these things are boring in fashion but not for me. Maybe they don’t see the details on the runway. Honestly, I don’t care… I don’t want to impress. I want to do what I like.”

I only wish he did not sacrifice the quality expected of the Gucci price tag to achieve what he likes. At the end of the day, people want to spend this kind of money on clothes that flatter, comfort, and impress them, and there is a lack of that in this collection.

The Entropy Issue

9

SABATO DE SARNO’S

GUCCI

WRITTEN BY LOGAN YUHAS DESIGNED BY ANTONIA SOLAR

Sellable doesn’t always equal good

I

love minimalism, but I’m disappointed when people get it wrong. That’s exactly what I feel Sabato de Sarno is doing to Gucci as their new creative director. He’s making boring clothes that don’t fit well in an oversaturated minimalist market, now harkened as “Quiet Luxury” or “Wealth Whispers”. It can be frustrating to some to have an onslaught of ‘classic’ silhouettes done in high-end fabrics, but that trend is what happens when the rich and influential don’t want to be flashy in a recession.

Look at the early ‘90s or right after 2008, for example, and you’ll get ultrawearable clothes on those runways, too.

De Sarno’s SS24 collection stands apart, since it lacks the sense of worldbuilding and tailoring associated with luxury. At the start, Look 1 appears to be closet basics arranged together, the only original detail is a bow in the back, which is hidden when wearing the trenchcoat. I will admit it’s subversive to hide the ornament in an era of social media and instant gratification, but it’s also unseen off the runway. The subtlety does not make it seem worth the

8

The WALK Magazine

Fall 2023

price tag, except the not-so-subtle Gucci logo on the lining (a personal design gripe I have: I see relying on logos to be a weak move). Fit-wise, the sleeves are too long; they are bunched up in a way that it looks like the model borrowed her dad’s jacket, which, while it can look chic, makes it hard for consumers to find the right size.

Look 2 is my least favorite look. The bodice suggests and exaggerates the idea of areolas, something I’ve never heard of as appealing. The cut simultaneously would look unflattering to women of all sizes, especially given the textile chosen,

something it shares with the bralettes of other looks. The fabric choice and poor fit is a recurring fault of the collection. In trying to appear luxurious, many looks’ heaviness reads as stiff and uncomfortable, like the model is wearing a polyester napkin or inflexible acrylic. This choice makes a loselose situation, with imaginably quizzical fittings for all sizes and uncomfortable weights for often strapless pieces.

My biggest irk with his collection, beside the ill-fitting clothes, is the way he seeks to further commercialize the runway. In many high-end brands, the looks on the runway are not exactly what is brought to and sold in stores, even if it is presented as “ready-to-wear”. The looks are whittled down to pieces available in the typical range of sizes (00-12) and can be recreated en masse, called “product”.

What I see from de Sarno is an attempt to make the product itself the runway collection, something more typical of a premium brand like Michael Kors or Tory Burch, but a step down from the high luxury of a heritage brand like Gucci. Not only is it tarnishing the reputation of the brand image, but it’s also a subtle attack on the runway as art. He’s hiding the details that make it artful from the view of the in situ audience. While the runway’s purpose is to build buzz and sales for the brand, this over-commodification travesties the fleet of artisans in the Gucci universe.

In all fairness, the accessories, the cash cow of many luxury brands, were

respectable. To preface, including accessories on the runway is a typical “necessary evil” commercialization to make money. The clothes catch the eyes of the consumers, but they buy the glasses and bags and jewelry (and perfumes) because they are a more accessible entrypoint into the brand’s world. In this collection, the oversized bit necklace and earrings are quite chic, and noticeably Gucci without relying on the logo. Gucci started as a leather goods company, mainly for horse/stable gear, and so the horsebit and other equestrian details are a motif of the brand, and it was nice to see them presented on their own in a new way. The shoes are not my speed, but I appreciate that he committed to the platform, patentleather loafer idea for so many looks. I know there are many customers out there for this footwear, and they are an original take on the chunky oxfords of indie sleaze, which is in the infancy of revival. The bags are nice too—high quality and utilitarian.

I’m sure many people will eye those, as, after all, Gucci really only makes money off of accessories (and fragrances). There’s an argument to be made that maybe it was a subtle collection to emphasize the sellable goods; to me, I find that easily knocked down by the clothes being not visually stimulating in photos, so the lack of organic promotion from social media and the like nullifies the assertion it was to spread the accessories. They won’t be shared without full looks to back them up.

A look I really want to like is look 34.

The dress is cashing in on the transparency trend right now, but cleverly plays on the Gucci grosgrain by rendering it as a light fishnet-like pattern overlaid on the sheer dress. The patent leather shorts worn underneath are another subversion of a trope, the idea of “leather-and-lace”, even if that material seems uncomfortable as bottoms. By making the leather patent, it almost appears to beckon a sense of sexuality in its luster—very Tom Fordera Gucci—more than leather alone would. The jacket is the part that fails. He makes it garish by adding the grosgrain all-over it, a denial of the minimal design he trumpets and a rehashing of the “logo mania” craze, something that is ill-suited to the “quiet luxury” space.

I don’t hate Sabato de Sarno; his passion for his work over an already impressive career is commendable. And he is very up-front about what he wants to do, telling The Cut, “People will maybe say these things are boring in fashion but not for me. Maybe they don’t see the details on the runway. Honestly, I don’t care… I don’t want to impress. I want to do what I like.”

I only wish he did not sacrifice the quality expected of the Gucci price tag to achieve what he likes. At the end of the day, people want to spend this kind of money on clothes that flatter, comfort, and impress them, and there is a lack of that in this collection.

The Entropy Issue

9

10. Madison Swartz:

4. Jane Birkin:

9. Alix Earle:

3. Camille Rowe:

Madison is an artist and a TikTok influencer (@ madisonood) who has gone viral for her chaotic videos and unusual outfits. She’s fun and her looks are effortless yet fashionable; she is rewearing her clubbing outfits to run errands, embracing messy hair, and wearing underwear out.

last night’s

MAKEUP & S ME SY

HAIR

Younger generations are bringing back imperfect styling from the past to break free from perfectionism in fashion.

W

ith the rise of the ‘Clean Girl’ aesthetic on social media, we saw our feeds filled with ballet flats, slicked back buns, neutrals and florals everywhere. However, it is now time to hand back the ballet flats to the ballerinas, because the ‘Messy Girl’ aesthetic is making a comeback and seems to be here to stay.

The ‘Clean Girl’ aesthetic was met with criticism after going viral. A movement that was supposed to be focused on health and self-love quickly became exceptionally exclusive, lacking diversity representation. Its counterpart, however, has shown to be accessible to all and embraces a more realistic lifestyle, in which perfection is not always achievable.

BY ZARA TENA CONTRERAS ILLUSTRATIONS BY ELLEN ZHANG DESIGN BY ANTONIA SOLAR AND OLIVIA HU

10

The WALK Magazine

Fall 2023

Now, when you really think about it, the most iconic ‘it girls’ have never been clean girls, they have always been messy girls who just have fun being themselves. Here are some fashion ‘it girls’ that have managed to make imperfection the perfect fashion trend:

The influencer that every girl has come to love is well-known for her ‘Get Ready With Me’ videos, in which we see her getting ready to go out to college parties, or recovering from them the next morning.

She perfectly portrays how complicated it is to be fashionable in college and shows that everything works out if you have fun with it.

8. Alexa Chung:

A forever ‘it girl’ who can make any outfit work.

Alexa has the talent of pulling anything out of her closet and making the most simple outfit a statement. She shows that a messy girl can also be a natural and minimalist girl, while still not taking anything too seriously.

7. Suki Waterhouse:

Superstar and actress Suki Waterhouse is bringing back the ‘80s and ‘90s with her amusing style. From iconic minis to oversized blazer, she knows how to break away from perfectionism and make every single outfit a show of its own.

6. Taylor Momsen:

A sweet girl turned rock star, Taylor Momsen is the epitome of the messy girl. She is living proof that girls should not settle for being ‘rockstar girlfriends,’ but should be the rockstars themselves.

With her long blonde hair, distressed clothes, and gigantic boots, she makes rocking on stage the most fashionable thing ever.

The ‘Messy Girl’ trend is not only about make-up and clothes, we get a glimpse of ‘messy girl’s night stands,’ ‘messy girl’s rooms,’ and ‘messy girl’s bags.’

And what better to show what a messy girl bag should look like than Jane Birkin and her overflowing, dirty, yet iconic Birkin bag.

Nothing screams ‘messy girl’ more than a careless, beautiful, French model. Camille Rowe takes the classic French style to new extremes, while showing that imperfection is fun and it makes the best looks.

2. Serena van der Woodsen:

The one character that comes up if you look up ‘Messy Girl Aesthetic’ could not be excluded from this list. ‘S’ herself is the image of what a messy girl is, and showed us that you can take over the world while having fun and looking great.

1. Kate Moss:

First place has to go to the queen herself, the one and only Kate Moss, who in the 90’s showed us that fashion and fun are basically the same thing.

Straight from the runway to a crazy party, she is the perfect portrayal of how being your true self and enjoying life is the best fashion trend. ___ The “Messy Girl” embraces last night’s makeup in a model-chic ‘90s grunge way; it acknowledges that we all have bad habits and sees the beauty in smudged mascara and messy hair. This aesthetic shows that imperfection shouldn’t be a reason to be embarrassed, as long as you’re having fun living your life.

5. Effy Stonem:

Going back to the 2010s, Effy Stonem was the inspiration for every Tumblr-obsessed teenage girl.

She showed us that you can easily turn an oversized t-shirt into a going-out dress, and made last night’s smokey eye and smudge mascara the best accessories.

The Entropy Issue

11

10. Madison Swartz:

4. Jane Birkin:

9. Alix Earle:

3. Camille Rowe:

Madison is an artist and a TikTok influencer (@ madisonood) who has gone viral for her chaotic videos and unusual outfits. She’s fun and her looks are effortless yet fashionable; she is rewearing her clubbing outfits to run errands, embracing messy hair, and wearing underwear out.

last night’s

MAKEUP & S ME SY

HAIR

Younger generations are bringing back imperfect styling from the past to break free from perfectionism in fashion.

W

ith the rise of the ‘Clean Girl’ aesthetic on social media, we saw our feeds filled with ballet flats, slicked back buns, neutrals and florals everywhere. However, it is now time to hand back the ballet flats to the ballerinas, because the ‘Messy Girl’ aesthetic is making a comeback and seems to be here to stay.

The ‘Clean Girl’ aesthetic was met with criticism after going viral. A movement that was supposed to be focused on health and self-love quickly became exceptionally exclusive, lacking diversity representation. Its counterpart, however, has shown to be accessible to all and embraces a more realistic lifestyle, in which perfection is not always achievable.

BY ZARA TENA CONTRERAS ILLUSTRATIONS BY ELLEN ZHANG DESIGN BY ANTONIA SOLAR AND OLIVIA HU

10

The WALK Magazine

Fall 2023

Now, when you really think about it, the most iconic ‘it girls’ have never been clean girls, they have always been messy girls who just have fun being themselves. Here are some fashion ‘it girls’ that have managed to make imperfection the perfect fashion trend:

The influencer that every girl has come to love is well-known for her ‘Get Ready With Me’ videos, in which we see her getting ready to go out to college parties, or recovering from them the next morning.

She perfectly portrays how complicated it is to be fashionable in college and shows that everything works out if you have fun with it.

8. Alexa Chung:

A forever ‘it girl’ who can make any outfit work.

Alexa has the talent of pulling anything out of her closet and making the most simple outfit a statement. She shows that a messy girl can also be a natural and minimalist girl, while still not taking anything too seriously.

7. Suki Waterhouse:

Superstar and actress Suki Waterhouse is bringing back the ‘80s and ‘90s with her amusing style. From iconic minis to oversized blazer, she knows how to break away from perfectionism and make every single outfit a show of its own.

6. Taylor Momsen:

A sweet girl turned rock star, Taylor Momsen is the epitome of the messy girl. She is living proof that girls should not settle for being ‘rockstar girlfriends,’ but should be the rockstars themselves.

With her long blonde hair, distressed clothes, and gigantic boots, she makes rocking on stage the most fashionable thing ever.

The ‘Messy Girl’ trend is not only about make-up and clothes, we get a glimpse of ‘messy girl’s night stands,’ ‘messy girl’s rooms,’ and ‘messy girl’s bags.’

And what better to show what a messy girl bag should look like than Jane Birkin and her overflowing, dirty, yet iconic Birkin bag.

Nothing screams ‘messy girl’ more than a careless, beautiful, French model. Camille Rowe takes the classic French style to new extremes, while showing that imperfection is fun and it makes the best looks.

2. Serena van der Woodsen:

The one character that comes up if you look up ‘Messy Girl Aesthetic’ could not be excluded from this list. ‘S’ herself is the image of what a messy girl is, and showed us that you can take over the world while having fun and looking great.

1. Kate Moss:

First place has to go to the queen herself, the one and only Kate Moss, who in the 90’s showed us that fashion and fun are basically the same thing.

Straight from the runway to a crazy party, she is the perfect portrayal of how being your true self and enjoying life is the best fashion trend. ___ The “Messy Girl” embraces last night’s makeup in a model-chic ‘90s grunge way; it acknowledges that we all have bad habits and sees the beauty in smudged mascara and messy hair. This aesthetic shows that imperfection shouldn’t be a reason to be embarrassed, as long as you’re having fun living your life.

5. Effy Stonem:

Going back to the 2010s, Effy Stonem was the inspiration for every Tumblr-obsessed teenage girl.

She showed us that you can easily turn an oversized t-shirt into a going-out dress, and made last night’s smokey eye and smudge mascara the best accessories.

The Entropy Issue

11

What is a uniform? Of course, there are the obvious prototypes—crisp blouses on USPS drivers, private school kids in matching wool socks, a police officer’s navy jacket. On Locust, our peers don business wear and Greek Life merch, uniforms that express the people they are at face value, often contextualized by group identity.

The act of wearing anything at all is to wear a uniform. We have all been swept along by the fashion cycle’s effusive current, from Dior’s new look to Balenciaga’s repackaging of streetwear aesthetics. Clothing is dialectic in nature; at once freeing and restrictive, a medium of protection and vulnerability.

12

UNIFORM

The WALK Magazine

Fall 2023

Our exploration of entropy begins with the Uniform shoot, a caricature of this sense of restriction. In the words of Rick Owens, whose brutalist design ethos served as inspiration for the following photo story, “Indifference is the greatest aphrodisiac.”

We toy with harsh contrasts, clean lines, and group identity. The models wear all black, adopting the chic nonchalance of a Berlin clubgoer. What does it mean to be cool? To fit in. To wear your garments powerfully. We ask you, reader: What Uniforms do you wear?

The Entropy Issue

13

What is a uniform? Of course, there are the obvious prototypes—crisp blouses on USPS drivers, private school kids in matching wool socks, a police officer’s navy jacket. On Locust, our peers don business wear and Greek Life merch, uniforms that express the people they are at face value, often contextualized by group identity.

The act of wearing anything at all is to wear a uniform. We have all been swept along by the fashion cycle’s effusive current, from Dior’s new look to Balenciaga’s repackaging of streetwear aesthetics. Clothing is dialectic in nature; at once freeing and restrictive, a medium of protection and vulnerability.

12

UNIFORM

The WALK Magazine

Fall 2023

Our exploration of entropy begins with the Uniform shoot, a caricature of this sense of restriction. In the words of Rick Owens, whose brutalist design ethos served as inspiration for the following photo story, “Indifference is the greatest aphrodisiac.”

We toy with harsh contrasts, clean lines, and group identity. The models wear all black, adopting the chic nonchalance of a Berlin clubgoer. What does it mean to be cool? To fit in. To wear your garments powerfully. We ask you, reader: What Uniforms do you wear?

The Entropy Issue

13

14

The WALK Magazine

Fall 2023

The Entropy Issue

15

14

The WALK Magazine

Fall 2023

The Entropy Issue

15

16

The WALK Magazine

Fall 2023

The Entropy Issue

17

16

The WALK Magazine

Fall 2023

The Entropy Issue

17

DIRECTED BY DARYA AMERI, SARAHBELLE KIM, VICTORIA ROSA, OLIVIA KIM. STYLED BY TARINI RUIA, JACKIE ERRERA, ALY KERRIGAN, TONY ZHANG. MAKEUP BY ADYA GUPTA, OLIVIA WENDEL. MODELED BY PETER LEE, DEXTER WU-CORTS, LUNA CHEN, KRISHNA CHANDRASEKHARA, CELIA NGOGA. PHOTOGRAPHED BY INTEL CHEN, MATTHEW SCHWARTZ, GIULIANA ALLEVA. DESCRIPTION BY SARAHBELLE KIM. DESIGN BY JACKIE HU. 18

The WALK Magazine

Fall 2023

The Entropy Issue

19

DIRECTED BY DARYA AMERI, SARAHBELLE KIM, VICTORIA ROSA, OLIVIA KIM. STYLED BY TARINI RUIA, JACKIE ERRERA, ALY KERRIGAN, TONY ZHANG. MAKEUP BY ADYA GUPTA, OLIVIA WENDEL. MODELED BY PETER LEE, DEXTER WU-CORTS, LUNA CHEN, KRISHNA CHANDRASEKHARA, CELIA NGOGA. PHOTOGRAPHED BY INTEL CHEN, MATTHEW SCHWARTZ, GIULIANA ALLEVA. DESCRIPTION BY SARAHBELLE KIM. DESIGN BY JACKIE HU. 18

The WALK Magazine

Fall 2023

The Entropy Issue

19

BLACK Entropy In the Spotlight

I

n the mesmerizing world of ballet, where elegance intertwines with precision, few films have navigated the haunting beauty and the unsettling secrets of this art form as skillfully as Black Swan. Under the visionary direction of Darren Aronofsky, this psychological thriller immerses its audience in the tumultuous life of Nina Sayers, a methodically ambitious and dedicated ballerina portrayed by the captivating Natalie Portman.

Nina Sayers epitomizes structured aspiration. Her life is a testament to the unyielding commitment and discipline demanded by the ballet industry. With every graceful leap and pirouette, she embodies the precision and artistry synonymous with ballet. As we step into Nina’s world, we are entranced by the allure of perfection. However, what makes Black Swan so compelling is the gradual descent of this committed dancer into chaos. Her relentless pursuit of perfection, intensified by the merciless standards of the ballet world, causes her to teeter dangerously on the brink of insanity. The film is a mesmerizing ode to the transformational power of embracing one’s chaos, as Nina embodies entropy.

Her desire for a room filled with pink stuffed animals and juvenile remembrance becomes a desire to be an ominous yet sexually seductive version of herself.

20

The WALK Magazine

Fall 2023

SWAN

The chaotic pressures of the ballet world WRITTEN BY LUCAS BRIENZA DESIGNED BY ANTONIA SOLAR ILLUSTRATED BY JACKIE HU Nina’s story is a cautionary tale about her balletic metamorphosis and the cost of perfection. From the delicate white swan to the seductive black swan, she mirrors the fragile balance between artistry and chaos that resides within all of us.

Upon securing the lead role in the “Swan Lake” ballet, Nina is instructed to fully embrace the black swan within her character. She is eager to take on the task, but there is a dark cloud hanging over her attempt at artistic transformation. Her natural tendency to strive for perfection has made her vulnerable, and when Lily— Mila Kunis’ magnetic persona—enters the scene, Nina’s world starts to fall apart. The two dancers seem eerily similar, down to their silhouette and physical make-up, and Nina is troubled by this similarity.

Nina starts to see images of a blackclad doppelgänger—a menacing mirror of herself who bears an eerie similarity to Lily—among the hectic bustle of a subway station or in the winding passageways of Lincoln Center. At the heart of the battle is Nina’s capacity to embrace the White Swan, the delicate and pure essence of the dance, but her failure to understand the seductive, sultry, and mysterious character of the black swan. It is Lily who seamlessly encapsulates this sinister counterpart, igniting a toxic competition that threatens to consume only Nina.

As Nina yearns for perfection in

the eyes of her demanding director, her constant quest begins to fracture her psyche. A journey that unfolds as a metaphorical birth of an artist, Black Swan visually encapsulates Nina’s psychological and physical trek towards artistic perfection. The price she pays is not just for beauty in both the white and black swan but for a profound transformation that ultimately engulfs her. Her ambition, untamed and unwavering, becomes a catalyst for her own metamorphosis, turning the ballet’s enchanting beauty into a realm of unforeseen chaos.

The star-studded psychological thriller Don’t Worry Darling, featuring Florence Pugh and Harry Styles, examines similar issues in a different environment. Alice Chambers, Pugh’s character, is presented as a cheery housewife in an apparently ideal 1950s neighborhood. However, like Nina in Black Swan, Alice begins to unravel as a result of the banal life she lives. Women’s duties in this beautifully built society are limited to cleaning, cooking, dancing, and submitting to their husbands, echoing the restricted concept of femininity and perfection.

As the story progresses, Alice’s rising discomfort parallels Nina’s spiral into chaos. Both films warn of the dangers of aiming for perfection in a culture that imposes uniformity. While Black Swan explores these topics through the medium

of ballet, Don’t Worry Darling digs into the oppressive setting of a 1950s community to demonstrate the consequences of women who oppose the status quo.

Pursuing an idealized form of femininity eventually leads to personal upheaval in both films, underlining the fragility of human nature and the necessity to balance the quest for perfection with acceptance of one’s genuine self. The allure of these narratives rests in their capacity to illustrate the transforming potential of embracing chaos inside, as individuals like Nina and Alice confront the dark depths of their respective worlds. Ballet and a 1950s town serve as backgrounds for these intriguing investigations of the price one pays for perfection.

While the parallel with Don’t Worry, Darling highlights common themes of social expectations and the repercussions of aiming for an unrealistic ideal, it is critical to return to the core of our tale: the captivating story of Nina’s transformation.

Her journey serves as a cautionary tale, encouraging us to consider the delicate balance between the search for perfection and the acceptance of our own chaotic beauty. Black Swan is a spellbinding investigation of the steep price one pays for perfection in the ruthless world of ballet, while simultaneously unraveling the psyche of Nina Sayers.

The Entropy Issue

21

BLACK Entropy In the Spotlight

I

n the mesmerizing world of ballet, where elegance intertwines with precision, few films have navigated the haunting beauty and the unsettling secrets of this art form as skillfully as Black Swan. Under the visionary direction of Darren Aronofsky, this psychological thriller immerses its audience in the tumultuous life of Nina Sayers, a methodically ambitious and dedicated ballerina portrayed by the captivating Natalie Portman.

Nina Sayers epitomizes structured aspiration. Her life is a testament to the unyielding commitment and discipline demanded by the ballet industry. With every graceful leap and pirouette, she embodies the precision and artistry synonymous with ballet. As we step into Nina’s world, we are entranced by the allure of perfection. However, what makes Black Swan so compelling is the gradual descent of this committed dancer into chaos. Her relentless pursuit of perfection, intensified by the merciless standards of the ballet world, causes her to teeter dangerously on the brink of insanity. The film is a mesmerizing ode to the transformational power of embracing one’s chaos, as Nina embodies entropy.

Her desire for a room filled with pink stuffed animals and juvenile remembrance becomes a desire to be an ominous yet sexually seductive version of herself.

20

The WALK Magazine

Fall 2023

SWAN

The chaotic pressures of the ballet world WRITTEN BY LUCAS BRIENZA DESIGNED BY ANTONIA SOLAR ILLUSTRATED BY JACKIE HU Nina’s story is a cautionary tale about her balletic metamorphosis and the cost of perfection. From the delicate white swan to the seductive black swan, she mirrors the fragile balance between artistry and chaos that resides within all of us.

Upon securing the lead role in the “Swan Lake” ballet, Nina is instructed to fully embrace the black swan within her character. She is eager to take on the task, but there is a dark cloud hanging over her attempt at artistic transformation. Her natural tendency to strive for perfection has made her vulnerable, and when Lily— Mila Kunis’ magnetic persona—enters the scene, Nina’s world starts to fall apart. The two dancers seem eerily similar, down to their silhouette and physical make-up, and Nina is troubled by this similarity.

Nina starts to see images of a blackclad doppelgänger—a menacing mirror of herself who bears an eerie similarity to Lily—among the hectic bustle of a subway station or in the winding passageways of Lincoln Center. At the heart of the battle is Nina’s capacity to embrace the White Swan, the delicate and pure essence of the dance, but her failure to understand the seductive, sultry, and mysterious character of the black swan. It is Lily who seamlessly encapsulates this sinister counterpart, igniting a toxic competition that threatens to consume only Nina.

As Nina yearns for perfection in

the eyes of her demanding director, her constant quest begins to fracture her psyche. A journey that unfolds as a metaphorical birth of an artist, Black Swan visually encapsulates Nina’s psychological and physical trek towards artistic perfection. The price she pays is not just for beauty in both the white and black swan but for a profound transformation that ultimately engulfs her. Her ambition, untamed and unwavering, becomes a catalyst for her own metamorphosis, turning the ballet’s enchanting beauty into a realm of unforeseen chaos.

The star-studded psychological thriller Don’t Worry Darling, featuring Florence Pugh and Harry Styles, examines similar issues in a different environment. Alice Chambers, Pugh’s character, is presented as a cheery housewife in an apparently ideal 1950s neighborhood. However, like Nina in Black Swan, Alice begins to unravel as a result of the banal life she lives. Women’s duties in this beautifully built society are limited to cleaning, cooking, dancing, and submitting to their husbands, echoing the restricted concept of femininity and perfection.

As the story progresses, Alice’s rising discomfort parallels Nina’s spiral into chaos. Both films warn of the dangers of aiming for perfection in a culture that imposes uniformity. While Black Swan explores these topics through the medium

of ballet, Don’t Worry Darling digs into the oppressive setting of a 1950s community to demonstrate the consequences of women who oppose the status quo.

Pursuing an idealized form of femininity eventually leads to personal upheaval in both films, underlining the fragility of human nature and the necessity to balance the quest for perfection with acceptance of one’s genuine self. The allure of these narratives rests in their capacity to illustrate the transforming potential of embracing chaos inside, as individuals like Nina and Alice confront the dark depths of their respective worlds. Ballet and a 1950s town serve as backgrounds for these intriguing investigations of the price one pays for perfection.

While the parallel with Don’t Worry, Darling highlights common themes of social expectations and the repercussions of aiming for an unrealistic ideal, it is critical to return to the core of our tale: the captivating story of Nina’s transformation.

Her journey serves as a cautionary tale, encouraging us to consider the delicate balance between the search for perfection and the acceptance of our own chaotic beauty. Black Swan is a spellbinding investigation of the steep price one pays for perfection in the ruthless world of ballet, while simultaneously unraveling the psyche of Nina Sayers.

The Entropy Issue

21

RUNWAY RUNWAY STUNTS

CLICKBAIT OR FASHION?

Does fashion only care about going viral?

R

unway shows have evolved from simply displaying clothes to being extravagant spectacles of innovation, technology, and art. Some argue that modern fashion shows have less emphasis on the actual clothing in a given collection than on what will gain viral internet fame. Bella Hadid, a famous model, closed Coperni’s Spring/Summer (S/S) 2023 show with a dress that was sprayed onto her using Fabrican, an instant sprayable fabric made by the London Bioscience Innovation Centre. Countless videos on TikTok, Instagram, and YouTube discussed how amazed they were by the dress, the science behind Fabrican, and critiques of the show.

Critics questioned whether the spray-on dress aimed for virality, potentially overshadowing the rest of the collection with its spectacle. Coperni has said that the viral dress or pieces made of the Fabrican material will not be for sale, so many have now wondered why fashion houses perform these runway stunts in the first place.

22

The WALK Magazine

Fall 2023

WRITTEN BY CYNTHIA SCHNEIDER DESIGNED BY YVETTE YAO ILLUSTRATED BY JACKIE HU

Some of the earliest examples of runway stunts are from Alexander McQueen’s shows in the late 1990s. The S/S 2023 Coperni show was heavily compared to the S/S 1999 show where Shalom Harlow, wearing a white dress, was sporadically spray painted by two robots as she spun on a rotating stand—making a statement about the intersection of technology, violence, and creativity. In the F/W 1998 Alexander McQueen show based on the death and tragedy of Joan of Arc and the Romanov family, a model stood in a ring of fire wearing a red dress covering her face. McQueen often had a deeper reasoning for the aforementioned stunts in his collections, usually making political or social commentary on the world, fashion, and more. Many designers have followed suit, employing performance art and stunts to make a statement, but to some, it may feel more like a marketing strategy.

The parallels between the Coperni show and the S/S 1999 Alexander McQueen show are emblematic of how fashion history repeats itself. Every fashion week in the last couple of decades features a show that goes viral on social media for an avant-garde stunt—bringing attention to designers that the general public may not have seen otherwise. In the F/W 2023 AVAVAV show, everything seemed to go wrong—shoes broke, clothing fell off, and finally, the back wall of the set fell—but it was all intentional. People around the world expressed that they had never heard of the brand until this viral moment. However, similar to McQueen’s shows in the ’90s, this stunt wanted to make a statement about fast fashion and the quality depreciation of modern-day clothing. However, the purpose of many of these

stunts is often overshadowed by the stunt itself.

In the age of short-form video content on social media platforms like TikTok, the deeper context of fashion show stunts is given limited attention. Runway stunts are perfect for social media. They can be broadcast to millions, and people from around the world will be talking about it in seconds. Due to the power social media has, the purpose of runway stunts is shifting from making political or social statements to achieving virality. None of the other looks in the S/S 2023 Coperni show featured the spray-on material, so many question why it was displayed in the first place. Will they be selling it? Will they make pieces made of this material for red carpet shows? The designers intended for the spectacle to display cool technology that could be implemented into fashion in the future or other industries.

Runway stunts do not inherently have “no purpose”, but many critics believe that they detract from the main reason for the show—the fashion. Runway shows have seemingly evolved into something much more than clothing alone, allowing for further artistic expression through more subtle aspects like the set design, the runway itself, the music, and more. Each part plays an instrumental role in creating the ambiance of a show, but it seems that for some fashion houses, more focus is put on distracting the audience from the clothes with stunts.

As a result of this debate, the fashion industry may need to toe the line between innovation or artistic freedom and the influence of social media marketing on runway shows.

The Entropy Issue

23

RUNWAY RUNWAY STUNTS

CLICKBAIT OR FASHION?

Does fashion only care about going viral?

R

unway shows have evolved from simply displaying clothes to being extravagant spectacles of innovation, technology, and art. Some argue that modern fashion shows have less emphasis on the actual clothing in a given collection than on what will gain viral internet fame. Bella Hadid, a famous model, closed Coperni’s Spring/Summer (S/S) 2023 show with a dress that was sprayed onto her using Fabrican, an instant sprayable fabric made by the London Bioscience Innovation Centre. Countless videos on TikTok, Instagram, and YouTube discussed how amazed they were by the dress, the science behind Fabrican, and critiques of the show.

Critics questioned whether the spray-on dress aimed for virality, potentially overshadowing the rest of the collection with its spectacle. Coperni has said that the viral dress or pieces made of the Fabrican material will not be for sale, so many have now wondered why fashion houses perform these runway stunts in the first place.

22

The WALK Magazine

Fall 2023

WRITTEN BY CYNTHIA SCHNEIDER DESIGNED BY YVETTE YAO ILLUSTRATED BY JACKIE HU

Some of the earliest examples of runway stunts are from Alexander McQueen’s shows in the late 1990s. The S/S 2023 Coperni show was heavily compared to the S/S 1999 show where Shalom Harlow, wearing a white dress, was sporadically spray painted by two robots as she spun on a rotating stand—making a statement about the intersection of technology, violence, and creativity. In the F/W 1998 Alexander McQueen show based on the death and tragedy of Joan of Arc and the Romanov family, a model stood in a ring of fire wearing a red dress covering her face. McQueen often had a deeper reasoning for the aforementioned stunts in his collections, usually making political or social commentary on the world, fashion, and more. Many designers have followed suit, employing performance art and stunts to make a statement, but to some, it may feel more like a marketing strategy.

The parallels between the Coperni show and the S/S 1999 Alexander McQueen show are emblematic of how fashion history repeats itself. Every fashion week in the last couple of decades features a show that goes viral on social media for an avant-garde stunt—bringing attention to designers that the general public may not have seen otherwise. In the F/W 2023 AVAVAV show, everything seemed to go wrong—shoes broke, clothing fell off, and finally, the back wall of the set fell—but it was all intentional. People around the world expressed that they had never heard of the brand until this viral moment. However, similar to McQueen’s shows in the ’90s, this stunt wanted to make a statement about fast fashion and the quality depreciation of modern-day clothing. However, the purpose of many of these

stunts is often overshadowed by the stunt itself.

In the age of short-form video content on social media platforms like TikTok, the deeper context of fashion show stunts is given limited attention. Runway stunts are perfect for social media. They can be broadcast to millions, and people from around the world will be talking about it in seconds. Due to the power social media has, the purpose of runway stunts is shifting from making political or social statements to achieving virality. None of the other looks in the S/S 2023 Coperni show featured the spray-on material, so many question why it was displayed in the first place. Will they be selling it? Will they make pieces made of this material for red carpet shows? The designers intended for the spectacle to display cool technology that could be implemented into fashion in the future or other industries.

Runway stunts do not inherently have “no purpose”, but many critics believe that they detract from the main reason for the show—the fashion. Runway shows have seemingly evolved into something much more than clothing alone, allowing for further artistic expression through more subtle aspects like the set design, the runway itself, the music, and more. Each part plays an instrumental role in creating the ambiance of a show, but it seems that for some fashion houses, more focus is put on distracting the audience from the clothes with stunts.

As a result of this debate, the fashion industry may need to toe the line between innovation or artistic freedom and the influence of social media marketing on runway shows.

The Entropy Issue

23

The 21st Century

BREAKING

POINTE DIOR HAUTE COUTURE TO BALLE T CORE

WALTZ THROUGH THE HISTORY OF HOW BALLET TOOK FASHION FROM THE STAGE TO THE STREETS

F

or well over 100 years, ballet and fashion have been symbiotic. The arts act as two counterbalancing lenses through which to view the human physique, using movement and clothing in the constant pursuit of the ideal form. While ballet looks at which positions best present the body, such as turning out the leg to illusively create elongation, fashion does so through fabric. The bodies of ballerinas and models are in many ways alike: objectified, pushed to their limits and, at various points in time, considered the epitome of beauty, elegance and femininity. In the words of Balanchine, “‘ballet is woman.”

The 19th Century

The first ballet costumes were designed for men dancing en travesti in the French and Italian royal courts, including that of Louis XIV. The quintessential ballerina look was then debuted in 1820 by Marie Taglioni, breaking frontiers by performing a full ballet en pointe.

Ballet took the first step in the symbiotic relationship as Taglioni wore a dress that largely mimicked both the body form and fashion at the time.However, raising the hem line and lightening the fabric was enough to distinguish the look, thus birthing the first tutu.

WRITTEN BY SASKIA RISTA-BRETTLER ILLUSTRATIONS BY ELLEN ZHANG DESIGN BY LOUISE WANG AND ANTONIA SOLAR

24

The WALK Magazine

Fall 2023

The 20th Century

The arrival of the Ballet Russes to the West in 1909 initiated repayment of the favour. The Russian dancers' Orientalist aesthetic influenced pre-war designer Paul Poiret, catalysing the movement of harem skirts and jewel colour trousers. Stravinsky's 1910 Firebird ’s flaming red dress sparked fashion fires and Diaghilev’s 1921 The Sleeping Beauty elicited Elsa Schiaparelli to trademark her signature “sleeping blue”. In the ’20s, primas punctuated Parisian fashion. Coco Chanel, Jeanne Lanvin and Madeleine Vionnet pinched romantic full skirts paired with sleek sheaths. In return, Schiaparelli and Coco designed for the ballerinas; the 1932 George Balanchine’s ballet Cotillion was rewarded with an 8-page Vogue feature. The costume designer of said ballet, Christian Bérard, was a close friend of Coco herself and mentored Christian Dior.

During World War II ballet shoes had a tangible effect on footwear for the first time. Diana Vreeland, former ballet student and 8-year Editor-in-Chief at Vogue, savvily commandeered pointe shoes to be used as everyday footwear due to the lack of wartime restrictions. Designer Claire McCardell similarly used this trick to bypass the leather shortage, commissioning Capezio, a well-known dance brand to create ballet flats for her fashion show which are featured on the 1949 cover of Vogue. While these women did it first, much credit is given to Brigitte Bardot, who in 1956 requested Rose Repetto to make her ballet slippers fit for the city.

The post- war depression sought comfort in the arts; a hunger for change was in the air, and Christian Dior fed it. Of all designers, he took the rawest inspiration from the classical dance form, translating the romantic tutu into his famous New Look. The ’40s saw French fashion stars Dior, Balmain and Jacques Fath in a loving affair with the etoiles of the ballet stage. Fath dressed the 1948 film The Red Shoes and Margot Fonteyn wore the 19th century romantic clothes Christian Dior designed until she died.

Ballet kept a steady presence in the fashion realm until disaster struck in the ’70s. “Ballet pink” was not the gender-defying, stereotype-breaking bold woman’s colour. The combined girliness and fragility associated with it did not fit the archetype of women fighting for equality. This colour was further problematic in its reflection of ballet's diversity. The pink of the ballet tights and shoes, chosen for its resemblance to a white skin tone, reflects the sport's problematic bias.

The 2000s saw the attempted tackling of both these qualms. Hyper- femininity has luckily been reclaimed by staunch feminists, a sentiment that would make Simone De Beauvoir herself blush ballet pink with pride. Phoebe Waller-Bridge, writer and producer of Killing Eve, dressed her cool Villanelle in an opulent Molly Goddard hot pink organza gown. She then collected her Emmy donned in a dress with daring décolletage and tonnes of tulle.

Looking at fashion feet- forward, the oscillation between the two hyper-feminine shoes has plagued the best part of the 21st century: heels or flats. The mid2000s perfect pumps have lain largely dormant for the better part of 20 years, but are now back and intrinsic to every famous wardrobe and must-have list of 2023.

They may dip their toes in and out, but I contend that they will always prevail due to their completion of the three Cs: comfortable , convenient and chic.

Like the footwear fight, fashion styles are famously cyclical. Vogues of fads will rise and dissipate to make room for the resurgence of a highly contrasting new way. During the pandemic, loose loungewear had a long reign, indicating that an escapist aesthetic was imminent, much like the aforementioned glamourous New Look response to the glum war. The pandemic posited womenswear and menswear alike, neutral colours and shapeless comfort clothes, this called for the return of the many-headed monster of the princess aesthetic. Social media flew with this, from Bridgerton to cottage core, heightened femininity was once again worshipped. Ballet core was the strain that stayed—balletomania returned to rule the runways as the muse of Miu Miu, Maison Margiela and Ming Ma. The New York City Ballet celebrated its 75th anniversary in October 2023, eliciting a Reformation collaboration and a milestone gala. Using prima ballerinas as models, the brand debuted a 19-piece capsule collection from ballet flats to mid-length ivory tutus.

The campaign took inspiration from the 20th-century Ballet Russes, utilising their jewelled palette of ruby and emerald as well as a ballet toile print. The gala boasted George Balanchine's “Who Cares?” with costumes by Carolina Herrera’s creative director Wes Gordon. The spectacular affair at the David Koch Theatre verified the words sung by Sarah Jessica Parker—‘Everything is beautiful at the ballet’. As the vice chair of NYCB, SJP has enlisted first class designers such as Sarah Burton and Virgil Abloh to debut their pieces in conjunction with the ballet. Who could be more fitting than Carrie Bradshaw herself: the fashionista whose most famous outfit comprised of a ballet-pink top and white tutu.

The Future

Having briefly whipped through the two art forms’ histories, what should we expect of the future? One of their key conjoining characteristics, a preference for an exclusive body aesthetic, has been subject to criticism. Change is required if their romance is to continue to flourish. Hopefully they will adapt and survive, blessing both balletomanes and fashion lovers alike with further artistic genius.

The Entropy Issue

25

The 21st Century

BREAKING

POINTE DIOR HAUTE COUTURE TO BALLE T CORE

WALTZ THROUGH THE HISTORY OF HOW BALLET TOOK FASHION FROM THE STAGE TO THE STREETS

F

or well over 100 years, ballet and fashion have been symbiotic. The arts act as two counterbalancing lenses through which to view the human physique, using movement and clothing in the constant pursuit of the ideal form. While ballet looks at which positions best present the body, such as turning out the leg to illusively create elongation, fashion does so through fabric. The bodies of ballerinas and models are in many ways alike: objectified, pushed to their limits and, at various points in time, considered the epitome of beauty, elegance and femininity. In the words of Balanchine, “‘ballet is woman.”

The 19th Century

The first ballet costumes were designed for men dancing en travesti in the French and Italian royal courts, including that of Louis XIV. The quintessential ballerina look was then debuted in 1820 by Marie Taglioni, breaking frontiers by performing a full ballet en pointe.

Ballet took the first step in the symbiotic relationship as Taglioni wore a dress that largely mimicked both the body form and fashion at the time.However, raising the hem line and lightening the fabric was enough to distinguish the look, thus birthing the first tutu.

WRITTEN BY SASKIA RISTA-BRETTLER ILLUSTRATIONS BY ELLEN ZHANG DESIGN BY LOUISE WANG AND ANTONIA SOLAR

24

The WALK Magazine

Fall 2023

The 20th Century

The arrival of the Ballet Russes to the West in 1909 initiated repayment of the favour. The Russian dancers' Orientalist aesthetic influenced pre-war designer Paul Poiret, catalysing the movement of harem skirts and jewel colour trousers. Stravinsky's 1910 Firebird ’s flaming red dress sparked fashion fires and Diaghilev’s 1921 The Sleeping Beauty elicited Elsa Schiaparelli to trademark her signature “sleeping blue”. In the ’20s, primas punctuated Parisian fashion. Coco Chanel, Jeanne Lanvin and Madeleine Vionnet pinched romantic full skirts paired with sleek sheaths. In return, Schiaparelli and Coco designed for the ballerinas; the 1932 George Balanchine’s ballet Cotillion was rewarded with an 8-page Vogue feature. The costume designer of said ballet, Christian Bérard, was a close friend of Coco herself and mentored Christian Dior.

During World War II ballet shoes had a tangible effect on footwear for the first time. Diana Vreeland, former ballet student and 8-year Editor-in-Chief at Vogue, savvily commandeered pointe shoes to be used as everyday footwear due to the lack of wartime restrictions. Designer Claire McCardell similarly used this trick to bypass the leather shortage, commissioning Capezio, a well-known dance brand to create ballet flats for her fashion show which are featured on the 1949 cover of Vogue. While these women did it first, much credit is given to Brigitte Bardot, who in 1956 requested Rose Repetto to make her ballet slippers fit for the city.

The post- war depression sought comfort in the arts; a hunger for change was in the air, and Christian Dior fed it. Of all designers, he took the rawest inspiration from the classical dance form, translating the romantic tutu into his famous New Look. The ’40s saw French fashion stars Dior, Balmain and Jacques Fath in a loving affair with the etoiles of the ballet stage. Fath dressed the 1948 film The Red Shoes and Margot Fonteyn wore the 19th century romantic clothes Christian Dior designed until she died.

Ballet kept a steady presence in the fashion realm until disaster struck in the ’70s. “Ballet pink” was not the gender-defying, stereotype-breaking bold woman’s colour. The combined girliness and fragility associated with it did not fit the archetype of women fighting for equality. This colour was further problematic in its reflection of ballet's diversity. The pink of the ballet tights and shoes, chosen for its resemblance to a white skin tone, reflects the sport's problematic bias.

The 2000s saw the attempted tackling of both these qualms. Hyper- femininity has luckily been reclaimed by staunch feminists, a sentiment that would make Simone De Beauvoir herself blush ballet pink with pride. Phoebe Waller-Bridge, writer and producer of Killing Eve, dressed her cool Villanelle in an opulent Molly Goddard hot pink organza gown. She then collected her Emmy donned in a dress with daring décolletage and tonnes of tulle.

Looking at fashion feet- forward, the oscillation between the two hyper-feminine shoes has plagued the best part of the 21st century: heels or flats. The mid2000s perfect pumps have lain largely dormant for the better part of 20 years, but are now back and intrinsic to every famous wardrobe and must-have list of 2023.

They may dip their toes in and out, but I contend that they will always prevail due to their completion of the three Cs: comfortable , convenient and chic.

Like the footwear fight, fashion styles are famously cyclical. Vogues of fads will rise and dissipate to make room for the resurgence of a highly contrasting new way. During the pandemic, loose loungewear had a long reign, indicating that an escapist aesthetic was imminent, much like the aforementioned glamourous New Look response to the glum war. The pandemic posited womenswear and menswear alike, neutral colours and shapeless comfort clothes, this called for the return of the many-headed monster of the princess aesthetic. Social media flew with this, from Bridgerton to cottage core, heightened femininity was once again worshipped. Ballet core was the strain that stayed—balletomania returned to rule the runways as the muse of Miu Miu, Maison Margiela and Ming Ma. The New York City Ballet celebrated its 75th anniversary in October 2023, eliciting a Reformation collaboration and a milestone gala. Using prima ballerinas as models, the brand debuted a 19-piece capsule collection from ballet flats to mid-length ivory tutus.

The campaign took inspiration from the 20th-century Ballet Russes, utilising their jewelled palette of ruby and emerald as well as a ballet toile print. The gala boasted George Balanchine's “Who Cares?” with costumes by Carolina Herrera’s creative director Wes Gordon. The spectacular affair at the David Koch Theatre verified the words sung by Sarah Jessica Parker—‘Everything is beautiful at the ballet’. As the vice chair of NYCB, SJP has enlisted first class designers such as Sarah Burton and Virgil Abloh to debut their pieces in conjunction with the ballet. Who could be more fitting than Carrie Bradshaw herself: the fashionista whose most famous outfit comprised of a ballet-pink top and white tutu.

The Future

Having briefly whipped through the two art forms’ histories, what should we expect of the future? One of their key conjoining characteristics, a preference for an exclusive body aesthetic, has been subject to criticism. Change is required if their romance is to continue to flourish. Hopefully they will adapt and survive, blessing both balletomanes and fashion lovers alike with further artistic genius.

The Entropy Issue

25

ELEGANT Ballet is a balancing act of technique and musicality; dancers are expected to communicate emotions through their movements, yet each such movement must be flawless. Take the iconic “Danse de petit cygnes” (French for “Dance of the Little Swans”) from Tchaikovsky’s Swan Lake: four ballerinas perform in perfect unison, interlocking hands until the grand finish. Even the smallest deviation from the choreography could be discerned by the untrained eye—suggesting that in many aspects of ballet, uniformity remains a prerequisite for beauty. As such, ballet is the ideal art form to portray our next step in entropy. It is an exploration of fluid, graceful movements, paradoxically bound by canons of artistic perfection.

In our own pas de quatre, we intertwine true ballet attire and poses—showcased beautifully by Penn Ballet’s Shiny Shen (‘25)—with the balletcore aesthetic, which has been more recently popularized by brands like Sandy Liang and Miu Miu. The use of ribbons, lace, and soft shades of white and baby pink cultivate a dainty image; this represents the desire to be feminine that is emblematic of the aesthetic, sans the intensity of formal ballet training. The “Elegant” shoot marks our departure from rigidity, and a graceful entrance into delicacy.

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The WALK Magazine

Fall 2023

The Entropy Issue

27

ELEGANT Ballet is a balancing act of technique and musicality; dancers are expected to communicate emotions through their movements, yet each such movement must be flawless. Take the iconic “Danse de petit cygnes” (French for “Dance of the Little Swans”) from Tchaikovsky’s Swan Lake: four ballerinas perform in perfect unison, interlocking hands until the grand finish. Even the smallest deviation from the choreography could be discerned by the untrained eye—suggesting that in many aspects of ballet, uniformity remains a prerequisite for beauty. As such, ballet is the ideal art form to portray our next step in entropy. It is an exploration of fluid, graceful movements, paradoxically bound by canons of artistic perfection.

In our own pas de quatre, we intertwine true ballet attire and poses—showcased beautifully by Penn Ballet’s Shiny Shen (‘25)—with the balletcore aesthetic, which has been more recently popularized by brands like Sandy Liang and Miu Miu. The use of ribbons, lace, and soft shades of white and baby pink cultivate a dainty image; this represents the desire to be feminine that is emblematic of the aesthetic, sans the intensity of formal ballet training. The “Elegant” shoot marks our departure from rigidity, and a graceful entrance into delicacy.

26

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Fall 2023

The Entropy Issue

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DIRECTED BY DARYA AMERI, SARAHBELLE KIM, VICTORIA ROSA, OLIVIA KIM. STYLED BY TONY ZHANG, ALY KERRIGAN, JACKIE ERRERA, VICTORIA DE LA ROSA, TARINI RUIA. MAKEUP BY OLIVIA WENDEL, ADYA GUPTA. MODELED BY SHINY SHEN, MARIO BALUTA, EMILY ALCHAER, VICTORIA ROSA. PHOTOGRAPHED BY OLIVIA KIM, AMANDA HERRERA, ERICA WIGUNA, AMY ZHOU. DESCRIPTION BY ADELYN CHEN. DESIGN

BY JACKIE HU.

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DIRECTED BY DARYA AMERI, SARAHBELLE KIM, VICTORIA ROSA, OLIVIA KIM. STYLED BY TONY ZHANG, ALY KERRIGAN, JACKIE ERRERA, VICTORIA DE LA ROSA, TARINI RUIA. MAKEUP BY OLIVIA WENDEL, ADYA GUPTA. MODELED BY SHINY SHEN, MARIO BALUTA, EMILY ALCHAER, VICTORIA ROSA. PHOTOGRAPHED BY OLIVIA KIM, AMANDA HERRERA, ERICA WIGUNA, AMY ZHOU. DESCRIPTION BY ADELYN CHEN. DESIGN

BY JACKIE HU.

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33

D

o you love worms? What about insects? Furry hamster hats?

meticulous madness of

MYRA MAGD LEN Myra Magdalen’s style and fashion can inspire us all to embrace our niche and express our creativity.

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The WALK Magazine

Fall 2023

If not, wait until you see Myra Magdalen accessorize these out-of-the-box items into her personal style.

Hailing from Alabama, 26-year-old Myra Magdalen has garnered nearly a million followers on TikTok by posting standout styling videos and room tours. She uses her magnificent creativity and imagination to create funky outfits out of niche articles and everyday household items. In some of her most popular videos, Magdalen has styled the critters from A Bug’s Life, a sand-bucket, groundhogs and plenty of other quirky items.

It takes a special mind to see such ordinary objects and turn them into a whimsical outfit.

So…just how does she do it?

In an interview with Unia Magazine, Magdalen reveals that she takes inspiration from fashion maximalists like Lady Gaga and Nicki Minaj. Magdalen first took part in the world of maximalism when she subscribed to Seventeen Magazine. She studied how the different outfits were pieced together and imagined ways to style her own. However, Magdalen is mostly influenced by her mom.

She said, when describing growing up with her mom, “she would always take me thrifting into auctions, and she makes me feel like a minimalist.” One can picture a teenaged Magdalen running around her local thrift stores, her sights set on endless opportunities and her mind bursting with colorful ideas.

When asked how she decides to style the items she finds, Magdalen said, “I wish I knew because it’s always right there, you know what I mean?” A mind like Magdalen’s is so rare, especially in today’s fashion culture centered around “what’s trending” and fast fashion. She provides a breath of fresh air in today’s consumerism culture; she does not wear things because everyone else is, but rather because nobody else is. She does not buy things out of the desire to fit in, but instead she waits for something to catch her imaginative eye. Magdalen creates her own world, and it has no rules, trends or limitations.

In a recent video, Magdalen designed an outfit around a horse-saddle bag that she thrifted at a yard sale. She began by layering a horse-patterned corset, or shall I say “horset,” over a denim mini dress, then adding lacey bows and a mini cowboy hat to her braided hair. Next, she fixed a “horse-statue-head-figurine” to the corset top, complete with a matching mini cowboy hat. And, in true Magdalen fashion, she added an element of inception, securing a smaller horse head with an even more miniature cowboy hat onto the figurine. She completes the outfit with a belt, horse stickers and her saddle bag, creating yet another statement piece defined by her own rules—or lack thereof.

Magdalen’s TikTok audience enjoys her out-of-the-box outfits and creative personality. Viewers are drawn to her weird, authentic and unapologetic self. When Unia Magazine

The Entropy Issue

35

D

o you love worms? What about insects? Furry hamster hats?

meticulous madness of

MYRA MAGD LEN Myra Magdalen’s style and fashion can inspire us all to embrace our niche and express our creativity.

34

The WALK Magazine

Fall 2023

If not, wait until you see Myra Magdalen accessorize these out-of-the-box items into her personal style.

Hailing from Alabama, 26-year-old Myra Magdalen has garnered nearly a million followers on TikTok by posting standout styling videos and room tours. She uses her magnificent creativity and imagination to create funky outfits out of niche articles and everyday household items. In some of her most popular videos, Magdalen has styled the critters from A Bug’s Life, a sand-bucket, groundhogs and plenty of other quirky items.

It takes a special mind to see such ordinary objects and turn them into a whimsical outfit.

So…just how does she do it?

In an interview with Unia Magazine, Magdalen reveals that she takes inspiration from fashion maximalists like Lady Gaga and Nicki Minaj. Magdalen first took part in the world of maximalism when she subscribed to Seventeen Magazine. She studied how the different outfits were pieced together and imagined ways to style her own. However, Magdalen is mostly influenced by her mom.

She said, when describing growing up with her mom, “she would always take me thrifting into auctions, and she makes me feel like a minimalist.” One can picture a teenaged Magdalen running around her local thrift stores, her sights set on endless opportunities and her mind bursting with colorful ideas.

When asked how she decides to style the items she finds, Magdalen said, “I wish I knew because it’s always right there, you know what I mean?” A mind like Magdalen’s is so rare, especially in today’s fashion culture centered around “what’s trending” and fast fashion. She provides a breath of fresh air in today’s consumerism culture; she does not wear things because everyone else is, but rather because nobody else is. She does not buy things out of the desire to fit in, but instead she waits for something to catch her imaginative eye. Magdalen creates her own world, and it has no rules, trends or limitations.

In a recent video, Magdalen designed an outfit around a horse-saddle bag that she thrifted at a yard sale. She began by layering a horse-patterned corset, or shall I say “horset,” over a denim mini dress, then adding lacey bows and a mini cowboy hat to her braided hair. Next, she fixed a “horse-statue-head-figurine” to the corset top, complete with a matching mini cowboy hat. And, in true Magdalen fashion, she added an element of inception, securing a smaller horse head with an even more miniature cowboy hat onto the figurine. She completes the outfit with a belt, horse stickers and her saddle bag, creating yet another statement piece defined by her own rules—or lack thereof.

Magdalen’s TikTok audience enjoys her out-of-the-box outfits and creative personality. Viewers are drawn to her weird, authentic and unapologetic self. When Unia Magazine

The Entropy Issue

35

asked her to describe her fandom, she said, “that’s what’s really cool about the internet, is that it still surprises me that other people like this type of stuff.” While most followers may not try to recreate Magdalen’s looks, they are enthusiastic and supportive of her imagination.

“One of my favourite worm facts is that in one acre of land there can be over a million worms. There’s something about that I find very comforting.”

-MYRA MAGDALEN

But, unfortunately, like all other social media influencers, Magdalen faces a lot of backlash towards her videos. Magdalen has many followers who question the method of her madness. With a style as eccentric as hers, there will always be people who disagree.

Some of her viewers don’t understand why anyone would want to dress like her, or on what occasion they would wear such chaotic outfits. In addition, many viewers criticize her strange obsessions, but she isn’t bothered by it. Magdalen said to Unia Magazine, “Some people say they don’t get it ... what they’re basically saying is that it’s very weird.

It’s something they haven’t seen before.” It is never easy to put your truest self on display for the world to judge, but Magdalen handles the criticism with grace and poise.

In addition to her videos that document her styling process, Magdalen also has a clothing brand, “Magdalen”, where she sells her own designs and creations. Magdalen began her brand in 2018, but it wasn’t until her TikToks took off that the brand gained much traction. Now, fans go to her site to buy a Magdalen design so that they, too, can express their authentic and unapologetic selves.

One of the most popular articles she sells is

36

The WALK Magazine

Fall 2023

a white T-shirt that says “I Love Worms,” spelled out with actual pictures of worms.

This funky design originated in a get-readywith-me video Magdalen made, centered around her love for worms, which stems from her memories of playing outside in the dirt during her childhood. Another featured design is a sweatshirt with a retro keyboard on the front. This is an ode to her iconic background for her TikTok videos. She said to Unia Magazine, explaining her keyboard wall, “The second that I saw the keyboards, I was like, ‘You should go on my wall.’” Yet again, Magdalen’s imagination makes its own rules, and there are no boundaries or limitations to what she can do.

There is no doubt that Magdalen’s future will be full of outlandish outfits, plenty of keyboard videos and endless opportunities. And, in whatever she may do, there is no question that Magdalen will always be Magdalen. Her authenticity is a lesson to us all: why be like everyone else when you can dress up with worms, insects and furry hamster hats glued to your body?

WRITTEN BY ELIZABETH COLLINS DESIGN BY OLIVIA HU

The Entropy Issue

37

asked her to describe her fandom, she said, “that’s what’s really cool about the internet, is that it still surprises me that other people like this type of stuff.” While most followers may not try to recreate Magdalen’s looks, they are enthusiastic and supportive of her imagination.

“One of my favourite worm facts is that in one acre of land there can be over a million worms. There’s something about that I find very comforting.”

-MYRA MAGDALEN

But, unfortunately, like all other social media influencers, Magdalen faces a lot of backlash towards her videos. Magdalen has many followers who question the method of her madness. With a style as eccentric as hers, there will always be people who disagree.

Some of her viewers don’t understand why anyone would want to dress like her, or on what occasion they would wear such chaotic outfits. In addition, many viewers criticize her strange obsessions, but she isn’t bothered by it. Magdalen said to Unia Magazine, “Some people say they don’t get it ... what they’re basically saying is that it’s very weird.

It’s something they haven’t seen before.” It is never easy to put your truest self on display for the world to judge, but Magdalen handles the criticism with grace and poise.

In addition to her videos that document her styling process, Magdalen also has a clothing brand, “Magdalen”, where she sells her own designs and creations. Magdalen began her brand in 2018, but it wasn’t until her TikToks took off that the brand gained much traction. Now, fans go to her site to buy a Magdalen design so that they, too, can express their authentic and unapologetic selves.

One of the most popular articles she sells is

36

The WALK Magazine

Fall 2023

a white T-shirt that says “I Love Worms,” spelled out with actual pictures of worms.

This funky design originated in a get-readywith-me video Magdalen made, centered around her love for worms, which stems from her memories of playing outside in the dirt during her childhood. Another featured design is a sweatshirt with a retro keyboard on the front. This is an ode to her iconic background for her TikTok videos. She said to Unia Magazine, explaining her keyboard wall, “The second that I saw the keyboards, I was like, ‘You should go on my wall.’” Yet again, Magdalen’s imagination makes its own rules, and there are no boundaries or limitations to what she can do.

There is no doubt that Magdalen’s future will be full of outlandish outfits, plenty of keyboard videos and endless opportunities. And, in whatever she may do, there is no question that Magdalen will always be Magdalen. Her authenticity is a lesson to us all: why be like everyone else when you can dress up with worms, insects and furry hamster hats glued to your body?

WRITTEN BY ELIZABETH COLLINS DESIGN BY OLIVIA HU

The Entropy Issue

37

WRITTEN BY SHRITHA MANDAVA DESIGNED BY ANTONIA SOLAR ILLUSTRATIONS BY ATTICUS LIM

H

ave you ever pondered what people in the 1900s predicted we would dress like in the 2000s? Most of us recognize we have let our ancestors down when it comes to technology.

There are simply no flying cars or time travel machines in our 2023 world, but does even our fashion lack innovation? Glass dress-

A

es, wearable telephones and temperature-adaptable clothing were just a few of the dreams people in the 1930s had for us.

I don’t think they would be particularly pleased to hear that we’re still in corsets.

The current cyclicity of fashion is not up for dispute. What goes around comes back around as we recycle and revamp trends of the past. However, we rarely discuss how reactions to cyclicity have changed over time. Do designers and consumers joyously take part in this fashion loop?

There’s a creative pressure that goes along with bringing trends back. Each cycle, it gets marginally

WORLD WITHOUT

more difficult for designers to stand out, which is, in essence, their purpose, ambition, and aspiration. Some designers have chosen to respond to this phenomenon with increasingly bold, avant-garde designs. For example, Loewe’s Fall 2023 collection was designed to make the audience question what they were seeing. Jonathan Anderson, the brand’s creative director, used trompe-l’œil, a 3D, illusionary art style to play around with the perception of his clothing. The Cut wrote about the show: “Jonathan Anderson gets one of the first qualities of great fashion—that it has to feel a bit strange.”

Others stick exceptionally close to their brand’s core design features. If they aren’t able to reinvent the wheel, then they feel as though there is security in embrac-

CYCLICITY

From neutrality to eccentricity: how the fashion world will evolve if we reject trend cycles.

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Fall 2023

ing harmony between their designs. Chanel is a perfect example of a brand that rarely strays from their roots.

While we see new designs at each Chanel runway show,

garments usually align with the brand’s core neutral color scheme and tweed fabrics. This is to say, regardless of each brand’s coping mechanism, there’s an inevitable fatigue creeping up on the designer world, and they can only fight it off for so long.

This dullness hasn’t left consumers unscathed either, as the redundancy bores pockets of fashion enthusiasts. The rise of street style is one prime example of how consumers have attempted to reject cyclicity. Street style treats the world as its runway and embraces individuality as opposed to trends. However, for the average consumer, trends do provide an element of structure and simplify the process of “fitting in.” Defying cyclicity ultimately can be challenging for the greater population, which explains why we have abided by this system for so long. Nonetheless, our 2023 fashion trends aren’t as imaginative and futuristic as people predicted they would be.

This ultimately probes the question: what would a world without cyclicity look like?

One thing is certain—the world must be something uniquely different than what we have seen for decades.

UNIFORMITY

One hypothesis calls for a world where clothing for the masses blends together with little differentiation. If we look at our modern day trend rotation, the pace has increased to a point where it may not even be appropriate to call it a “cycle.”

Technology has enabled us to move rapidly and seamlessly from trend to trend; in response, people have pondered what it would be like to wear something that never goes away. Imagine if the “basics” sec-

tion of any store was its entire selection.

Rather than being a form of expression, fashion evolves to become cohesive, simple and uniform. This color palette sticks to blacks, greys and nudes with no color in sight.

When we visualize silhouettes, one prediction is the widespread use of form fitting clothing that hugs the body and allows for mobility. Teetering on athleisure and shapewear, it embraces our skin as our clothing. I imagine this world as Kim Kardashian’s SKIMS clothing line with the use of bodysuits and skin-colored pieces.

Another version predicts us embracing boxy, loose clothing that hides our figure and draws attention away from our fashion choices and bodies. We’ve seen many designers and celebrities embrace this style, from Yeezy to Billie Eilish.

We would anticipate nylon, cotton and polyester to dominate as opposed to textures with more eye-catching characteristics such as silk, satin and chiffon.

Accessories would either be minimized or forgotten as they may be seen as too individualistic. Key fashion movements that would be embraced by this version of our future would be sustainable, hightech and androgynous fashion. Simplicity in design and material would allow designers to dedicate and mass standardize more environmentally friendly clothing.

High-tech designs involving temperature control and wearable technology are easier to be integrated into plain designs.

There’s a reason your Apple watch doesn’t have the same look as a Cartier watch. Finally, with less optionality and more cohesion comes room for opportunity in the gender neutral space, especially if clothes take boxier form.

ECCENTRICITY

On the opposite end, our fashion world could become filled with color, design and eccentricity. People could contin-

ue denting the walls of cyclicity until it erupts. You would walk into a store and see countless different designs as opposed to twenty hangers of the same top. No two items would be exactly the same. This theory is in line with what we have seen many designers do to innovate their designs on the runway. They have pursued bolder designs, testing the boundaries of fabric and pattern as we know them. This version of the world preaches maximalism and the idea that clothes are a form of self expression.

Silhouettes would play a huge role in helping differentiate items. We could anticipate a revolt against traditional shapes in favor of more geometric and fabric consuming looks. From pants with large strings hanging out to dresses with decadent attachments, there would be no boundaries to what clothing “should” look like.

Fabrics are meant to evolve and grab attention in this world. Traditional materials wouldn’t be as interesting as something exciting with more texture and sheen.

Accessories could play a huge role in elevating fashion in the eccentric universe.

Chunky jewelry, hair pieces, colorful shoes and more would allow people to personalize their looks even further. Accessories could even be sold more often as a part of an outfit rather than a separate addition.

Suddenly, Effie Trinket’s style from the Hunger Games or Doja Cat’s notorious all red look featuring red body paint and 30,000 Swarovski crystals for Schiaparelli during Paris Fashion Week both seem more inspirational than ever.

One key fashion movement to support this universe is the obsession with social media and building a brand. Now more than ever, people’s personal styles are accessible in seconds. Style has become an identifying feature for more people, creating a need to stand out amongst millions.

The eccentricity world embraces fashion as a source of creativity and distinctness.

– Perhaps these predictions are as ambitious as the 1930s predictions about us once were, but there must eventually be a point where we break the loop. Whether our revolt comes at an extreme or in a gradual process, I’m confident the fatigue of cyclicity is creeping up on us and will eventually consume the masses. Fashion as we know it may become unrecognizable, but that is the excitement of it all.

Maybe, right now, we’re wearing the last of each trend cycle.

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WRITTEN BY SHRITHA MANDAVA DESIGNED BY ANTONIA SOLAR ILLUSTRATIONS BY ATTICUS LIM

H

ave you ever pondered what people in the 1900s predicted we would dress like in the 2000s? Most of us recognize we have let our ancestors down when it comes to technology.

There are simply no flying cars or time travel machines in our 2023 world, but does even our fashion lack innovation? Glass dress-

A

es, wearable telephones and temperature-adaptable clothing were just a few of the dreams people in the 1930s had for us.

I don’t think they would be particularly pleased to hear that we’re still in corsets.

The current cyclicity of fashion is not up for dispute. What goes around comes back around as we recycle and revamp trends of the past. However, we rarely discuss how reactions to cyclicity have changed over time. Do designers and consumers joyously take part in this fashion loop?

There’s a creative pressure that goes along with bringing trends back. Each cycle, it gets marginally

WORLD WITHOUT

more difficult for designers to stand out, which is, in essence, their purpose, ambition, and aspiration. Some designers have chosen to respond to this phenomenon with increasingly bold, avant-garde designs. For example, Loewe’s Fall 2023 collection was designed to make the audience question what they were seeing. Jonathan Anderson, the brand’s creative director, used trompe-l’œil, a 3D, illusionary art style to play around with the perception of his clothing. The Cut wrote about the show: “Jonathan Anderson gets one of the first qualities of great fashion—that it has to feel a bit strange.”

Others stick exceptionally close to their brand’s core design features. If they aren’t able to reinvent the wheel, then they feel as though there is security in embrac-

CYCLICITY

From neutrality to eccentricity: how the fashion world will evolve if we reject trend cycles.

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ing harmony between their designs. Chanel is a perfect example of a brand that rarely strays from their roots.

While we see new designs at each Chanel runway show,

garments usually align with the brand’s core neutral color scheme and tweed fabrics. This is to say, regardless of each brand’s coping mechanism, there’s an inevitable fatigue creeping up on the designer world, and they can only fight it off for so long.

This dullness hasn’t left consumers unscathed either, as the redundancy bores pockets of fashion enthusiasts. The rise of street style is one prime example of how consumers have attempted to reject cyclicity. Street style treats the world as its runway and embraces individuality as opposed to trends. However, for the average consumer, trends do provide an element of structure and simplify the process of “fitting in.” Defying cyclicity ultimately can be challenging for the greater population, which explains why we have abided by this system for so long. Nonetheless, our 2023 fashion trends aren’t as imaginative and futuristic as people predicted they would be.

This ultimately probes the question: what would a world without cyclicity look like?

One thing is certain—the world must be something uniquely different than what we have seen for decades.

UNIFORMITY

One hypothesis calls for a world where clothing for the masses blends together with little differentiation. If we look at our modern day trend rotation, the pace has increased to a point where it may not even be appropriate to call it a “cycle.”

Technology has enabled us to move rapidly and seamlessly from trend to trend; in response, people have pondered what it would be like to wear something that never goes away. Imagine if the “basics” sec-

tion of any store was its entire selection.

Rather than being a form of expression, fashion evolves to become cohesive, simple and uniform. This color palette sticks to blacks, greys and nudes with no color in sight.

When we visualize silhouettes, one prediction is the widespread use of form fitting clothing that hugs the body and allows for mobility. Teetering on athleisure and shapewear, it embraces our skin as our clothing. I imagine this world as Kim Kardashian’s SKIMS clothing line with the use of bodysuits and skin-colored pieces.

Another version predicts us embracing boxy, loose clothing that hides our figure and draws attention away from our fashion choices and bodies. We’ve seen many designers and celebrities embrace this style, from Yeezy to Billie Eilish.

We would anticipate nylon, cotton and polyester to dominate as opposed to textures with more eye-catching characteristics such as silk, satin and chiffon.

Accessories would either be minimized or forgotten as they may be seen as too individualistic. Key fashion movements that would be embraced by this version of our future would be sustainable, hightech and androgynous fashion. Simplicity in design and material would allow designers to dedicate and mass standardize more environmentally friendly clothing.

High-tech designs involving temperature control and wearable technology are easier to be integrated into plain designs.

There’s a reason your Apple watch doesn’t have the same look as a Cartier watch. Finally, with less optionality and more cohesion comes room for opportunity in the gender neutral space, especially if clothes take boxier form.

ECCENTRICITY

On the opposite end, our fashion world could become filled with color, design and eccentricity. People could contin-

ue denting the walls of cyclicity until it erupts. You would walk into a store and see countless different designs as opposed to twenty hangers of the same top. No two items would be exactly the same. This theory is in line with what we have seen many designers do to innovate their designs on the runway. They have pursued bolder designs, testing the boundaries of fabric and pattern as we know them. This version of the world preaches maximalism and the idea that clothes are a form of self expression.

Silhouettes would play a huge role in helping differentiate items. We could anticipate a revolt against traditional shapes in favor of more geometric and fabric consuming looks. From pants with large strings hanging out to dresses with decadent attachments, there would be no boundaries to what clothing “should” look like.

Fabrics are meant to evolve and grab attention in this world. Traditional materials wouldn’t be as interesting as something exciting with more texture and sheen.

Accessories could play a huge role in elevating fashion in the eccentric universe.

Chunky jewelry, hair pieces, colorful shoes and more would allow people to personalize their looks even further. Accessories could even be sold more often as a part of an outfit rather than a separate addition.

Suddenly, Effie Trinket’s style from the Hunger Games or Doja Cat’s notorious all red look featuring red body paint and 30,000 Swarovski crystals for Schiaparelli during Paris Fashion Week both seem more inspirational than ever.

One key fashion movement to support this universe is the obsession with social media and building a brand. Now more than ever, people’s personal styles are accessible in seconds. Style has become an identifying feature for more people, creating a need to stand out amongst millions.

The eccentricity world embraces fashion as a source of creativity and distinctness.

– Perhaps these predictions are as ambitious as the 1930s predictions about us once were, but there must eventually be a point where we break the loop. Whether our revolt comes at an extreme or in a gradual process, I’m confident the fatigue of cyclicity is creeping up on us and will eventually consume the masses. Fashion as we know it may become unrecognizable, but that is the excitement of it all.

Maybe, right now, we’re wearing the last of each trend cycle.

The Entropy Issue

39

BY NATHAN CRONIN DESIGN BY JACKIE HU PHOTO BY PRIYA BHAVIKATTI

Linda Smyth has an eye for detail and a keen creative vision, and it all comes through in her fashion brand and curation.

Casa Vida: Unveiling Sustainable Style On 3rd Street in Old City lies a vibrant boutique, Casa Vida. Upon entering the storefront, I was welcomed by beautiful jewelry sprawled across the center table. Lining the sides of the small business were racks of curated second-hand clothing, each organized by color. As I browsed the store, I noticed the intense detail given to every piece. For example, one intricate silk top had buttons along the front, each varying in shape and color.

As I continued to peruse the store, I overheard a conversation with Linda Smyth, the owner of Casa Vida. She was conversing with a local artist who had recently finished a new collection of pottery and hoped to display some of her pieces.

After talking to Linda, I discovered that owning Casa Vida presents her with the opportunity to help the creative and artistic community in Philadelphia. She enjoys getting to know other

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artists in the area and creating a platform for them to sell their work. Linda stated how “it’s so important to create experiences for the public to connect with artists. Even the vintage vendors like to express their own style and finds.”

Actively trying to enhance this community, Linda throws a First Friday show every month to promote local artists, creating a gathering of like-minded, artistic people.

Before opening the storefront in 2021, Linda worked in almost every aspect of the fashion industry. Originally located in Philadelphia, Linda opened a store with other artists. She then moved to New York City, where she worked freelance for multiple years. Due to the COVID-19 pandemic, Linda decided to move to the suburbs of Philadelphia to live with her brother and family. As the pandemic continued and made countless changes to daily life, Linda decided to

visit Colombia, the home country of her mother. During her visit, Linda prioritized learning about her family heritage. She took part in spiritual learning and explored the naturistic life in Colombia. Coming back to the States, Linda had the idea to open Casa Vida (Spanish for “house of life”) to honor Hispanic culture. Linda shared that “we’re here to promote beauty and self expression. To kind of give people another perspective of how to shop and experience life and almost decorate themselves.”

After meeting Linda, I had the opportunity to explore her workspace, which was filled with numerous pieces, tools, and fabrics. When discussing what her favorite piece was that she created, Linda pulled a beautiful necklace out of a lower cabinet. The highly detailed neckpiece incorporated metal work of various animals, wrapped around a white, braided leather strap. To create this piece, Linda used a wax injector and casting process, before chaining in the leather detail to add a textile element. Linda shared that her late father inspired the piece, stating “it was kind of a memento mori piece for him. I was inspired by ideas of reincarnation and our bodies transforming into other beings on the Earth.”

As mentioned, Casa Vida is home to countless second-hand, carefully curated items. I was curious about the process of selecting such distinct pieces and how a collection is created. Linda shared how she usually goes to rag houses,

where the clothing is already organized and sorted for the consumer. This process tends to be more expensive than a thrift store as it is already curated to some degree. Before creating a collection, she has a general sense of the pieces she is looking for. Reflecting upon the vintage shopping process, Linda expressed “I always want silk shirts and blazers or some kind of sweater. I love conversational prints.” In addition, Linda noted that she loves the process because it allows her to be creative and reflect upon the trends that are happening or revivals of the past.

Reflecting upon the past, Linda’s recent collaboration with up-and-coming glass artist and friend, Alex Rosenbaum, was largely inspired by her love for the 90s. The jewelry in the collection incorporates a grunge, ball chain look with delicate glass. Alex came to Linda with a few glass bead ideas and wanted her input on how she could incorporate a metallic flair. The collection is available both online on Casa Vida’s website and in-store.

In regards to The WALK’s photoshoot at Casa Vida, I was interested in how Linda selected which pieces to display and what the process was like. She explained how “she started bringing in new designers and clothing to mix with the vintage.” The pieces largely contributed to the dynamic nature of the shoot and gave a more modern twist with a vintage feel. In addition,

The Entropy Issue

41

BY NATHAN CRONIN DESIGN BY JACKIE HU PHOTO BY PRIYA BHAVIKATTI

Linda Smyth has an eye for detail and a keen creative vision, and it all comes through in her fashion brand and curation.

Casa Vida: Unveiling Sustainable Style On 3rd Street in Old City lies a vibrant boutique, Casa Vida. Upon entering the storefront, I was welcomed by beautiful jewelry sprawled across the center table. Lining the sides of the small business were racks of curated second-hand clothing, each organized by color. As I browsed the store, I noticed the intense detail given to every piece. For example, one intricate silk top had buttons along the front, each varying in shape and color.

As I continued to peruse the store, I overheard a conversation with Linda Smyth, the owner of Casa Vida. She was conversing with a local artist who had recently finished a new collection of pottery and hoped to display some of her pieces.

After talking to Linda, I discovered that owning Casa Vida presents her with the opportunity to help the creative and artistic community in Philadelphia. She enjoys getting to know other

40

The WALK Magazine

Fall 2023

artists in the area and creating a platform for them to sell their work. Linda stated how “it’s so important to create experiences for the public to connect with artists. Even the vintage vendors like to express their own style and finds.”

Actively trying to enhance this community, Linda throws a First Friday show every month to promote local artists, creating a gathering of like-minded, artistic people.

Before opening the storefront in 2021, Linda worked in almost every aspect of the fashion industry. Originally located in Philadelphia, Linda opened a store with other artists. She then moved to New York City, where she worked freelance for multiple years. Due to the COVID-19 pandemic, Linda decided to move to the suburbs of Philadelphia to live with her brother and family. As the pandemic continued and made countless changes to daily life, Linda decided to

visit Colombia, the home country of her mother. During her visit, Linda prioritized learning about her family heritage. She took part in spiritual learning and explored the naturistic life in Colombia. Coming back to the States, Linda had the idea to open Casa Vida (Spanish for “house of life”) to honor Hispanic culture. Linda shared that “we’re here to promote beauty and self expression. To kind of give people another perspective of how to shop and experience life and almost decorate themselves.”

After meeting Linda, I had the opportunity to explore her workspace, which was filled with numerous pieces, tools, and fabrics. When discussing what her favorite piece was that she created, Linda pulled a beautiful necklace out of a lower cabinet. The highly detailed neckpiece incorporated metal work of various animals, wrapped around a white, braided leather strap. To create this piece, Linda used a wax injector and casting process, before chaining in the leather detail to add a textile element. Linda shared that her late father inspired the piece, stating “it was kind of a memento mori piece for him. I was inspired by ideas of reincarnation and our bodies transforming into other beings on the Earth.”

As mentioned, Casa Vida is home to countless second-hand, carefully curated items. I was curious about the process of selecting such distinct pieces and how a collection is created. Linda shared how she usually goes to rag houses,

where the clothing is already organized and sorted for the consumer. This process tends to be more expensive than a thrift store as it is already curated to some degree. Before creating a collection, she has a general sense of the pieces she is looking for. Reflecting upon the vintage shopping process, Linda expressed “I always want silk shirts and blazers or some kind of sweater. I love conversational prints.” In addition, Linda noted that she loves the process because it allows her to be creative and reflect upon the trends that are happening or revivals of the past.

Reflecting upon the past, Linda’s recent collaboration with up-and-coming glass artist and friend, Alex Rosenbaum, was largely inspired by her love for the 90s. The jewelry in the collection incorporates a grunge, ball chain look with delicate glass. Alex came to Linda with a few glass bead ideas and wanted her input on how she could incorporate a metallic flair. The collection is available both online on Casa Vida’s website and in-store.

In regards to The WALK’s photoshoot at Casa Vida, I was interested in how Linda selected which pieces to display and what the process was like. She explained how “she started bringing in new designers and clothing to mix with the vintage.” The pieces largely contributed to the dynamic nature of the shoot and gave a more modern twist with a vintage feel. In addition,

The Entropy Issue

41

Linda shared that Trevor Arellano, who is a senior at the University of Pennsylvania, was hands-on with the shoot and styling pieces.

Trevor currently works at Casa Vida and was familiar with the overall vibe of the store and what pieces would work great in the shoot.

After thanking Linda for her time, I browsed the store once again and even purchased a shirt on my way out. Beyond the racks of vintage finds and handmade jewelry, Casa Vida actively engages in community initiatives. Linda and the store itself actively contribute to expanding the artistic community, sowing the seeds for creative minds in Philadelphia.

42

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Fall 2023

ECLECTIC

The Entropy Issue

43

Linda shared that Trevor Arellano, who is a senior at the University of Pennsylvania, was hands-on with the shoot and styling pieces.

Trevor currently works at Casa Vida and was familiar with the overall vibe of the store and what pieces would work great in the shoot.

After thanking Linda for her time, I browsed the store once again and even purchased a shirt on my way out. Beyond the racks of vintage finds and handmade jewelry, Casa Vida actively engages in community initiatives. Linda and the store itself actively contribute to expanding the artistic community, sowing the seeds for creative minds in Philadelphia.

42

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Fall 2023

ECLECTIC

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Further along in our entropic journey, we begin to explore vibrant color combinations and mismatches that defy conventional aesthetics. The “Eclectic” shoot is a visual feast, captured through both digital and film lens; it is a calculated frenzy, a dance of contrasts that somehow find harmony. At the heart of this sartorial spectacle is Casa Vida, a clothing and jewelry brand tucked away in a quaint boutique in Old City. We experiment with a treasure trove of the brand’s handmade pieces, weaving a narrative of textures, metals, and hues.

The models are living canvases; they each wear a story that unfolds in their playful expressions, from ear-to-ear grins that mirror the joy of artistic liberation to mysterious gazes that hint at the intrigue of our vision. This photoshoot is a celebration of the beautifully unpredictable, and a testament to the union of chaos and creativity. Welcome to the heart of the eclectic.

Many thanks to Casa Vida’s Linda Smyth and Trevor Arellano for bringing this shoot to life.

46

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47

Further along in our entropic journey, we begin to explore vibrant color combinations and mismatches that defy conventional aesthetics. The “Eclectic” shoot is a visual feast, captured through both digital and film lens; it is a calculated frenzy, a dance of contrasts that somehow find harmony. At the heart of this sartorial spectacle is Casa Vida, a clothing and jewelry brand tucked away in a quaint boutique in Old City. We experiment with a treasure trove of the brand’s handmade pieces, weaving a narrative of textures, metals, and hues.

The models are living canvases; they each wear a story that unfolds in their playful expressions, from ear-to-ear grins that mirror the joy of artistic liberation to mysterious gazes that hint at the intrigue of our vision. This photoshoot is a celebration of the beautifully unpredictable, and a testament to the union of chaos and creativity. Welcome to the heart of the eclectic.

Many thanks to Casa Vida’s Linda Smyth and Trevor Arellano for bringing this shoot to life.

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DIRECTED BY DARYA AMERI, SARAHBELLE KIM, VICTORIA ROSA, OLIVIA KIM. STYLED BY TREVOR ARELLANO, TONY ZHANG, ALY KERRIGAN, JACKIE ERRERA, VICTORIA DE LA ROSA, TARINI RUIA. MAKEUP BY OLIVIA WENDEL. MODELED BY JOJO MILAN-HOWELLS, MILAN CHAND, AMANDA CUI. PHOTOGRAPHED BY OLIVIA KIM, INTEL CHEN, PRIYA BHAVIKATTI, TINA ZHANG, JONATHAN SONG. DESCRIPTION BY ADELYN CHEN. DESIGN BY JACKIE HU.

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DIRECTED BY DARYA AMERI, SARAHBELLE KIM, VICTORIA ROSA, OLIVIA KIM. STYLED BY TREVOR ARELLANO, TONY ZHANG, ALY KERRIGAN, JACKIE ERRERA, VICTORIA DE LA ROSA, TARINI RUIA. MAKEUP BY OLIVIA WENDEL. MODELED BY JOJO MILAN-HOWELLS, MILAN CHAND, AMANDA CUI. PHOTOGRAPHED BY OLIVIA KIM, INTEL CHEN, PRIYA BHAVIKATTI, TINA ZHANG, JONATHAN SONG. DESCRIPTION BY ADELYN CHEN. DESIGN BY JACKIE HU.

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EMBRACING THE

ECLECTIC

Eclectic fashion resonates with those who want to be bold, daring and true to themselves.

WRITTEN BY RACHEL LEE DESIGNED BY ANTONIA SOLAR ILLUSTRATED BY ISHA BHANDARU

W

hen the leaves begin to turn and the air crisps, the fashion world undergoes its own transformation.

Fall 2023 was a season of eclectic, diverse, and innovative fashion designs.

Eclectic fashion transcends the boundaries of conventional style, inviting individuals to explore, experiment, and express themselves in a myriad of ways. This distinctive approach to fashion embodies a true celebration of individuality, blending diverse influences and tastes into a mesmerizing mosaic of styles. Eclectic fashion is not just a trend; it’s a movement—a manifestation of the dynamic synthesis of cultures, eras, and personal stories. Runways are no longer limited to showcasing singular design aesthetics; instead, they’ve become a platform for the avantgarde, where unexpected pairings bring about breathtaking combinations. Here, we’ll explore the dynamic and varied trends that dominated the runway, and hopefully your wardrobe, during the fall.

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Global Fusion This fall, fashion designers embraced global perspectives like never before.

Runway collections fused diverse cultural influences, resulting in a rich tapestry of patterns, textiles, and silhouettes.

From Moroccan-inspired embroidery to Japanese kimono-style draping, the season was all about celebrating the beauty of global diversity. Christian Dior and Prabal Gurung were at the forefront of this trend, showcasing a rich mix of cultural elements in their FW 2023 collections. The runway became a melting pot where different traditions and heritages harmoniously coexisted, inviting wearers to partake in a captivating sartorial journey across continents.

Luxury Meets Streetwear: Elevated Comfort The boundaries between luxury fashion and streetwear continued to blur this fall. Designers explored the concept of “casual opulence,” bringing comfort and extravagance together by matching oversized hoodies paired with luxurious silks and adorning sneakers with elegant embellishments. Brands such as Balenciaga and Off-White championed this trend, blending high fashion with streetwear and athleisure through hoodies and loungewear and showcasing how unexpected pairings can result in remarkable fashion moments. This season, you didn’t have to choose between comfort and luxury; you could have both.

Victorian Revival: A Nod to the Past Fall 2023 saw the return of Victorianinspired fashion but with a contemporary twist: high collars, ruffled blouses, and laced-up boots—all combined with modern cuts and fabrics. This fusion of past and present gave rise to a style that was both nostalgic and edgy, appealing to those who sought a touch of history in their wardrobe. Brands like Erdem and Simone Rocha beautifully incorporated Victorian elements into their collections, demonstrating how this historic style can be reimagined for the modern fashionista.

Erdem’s Autumn/Winter 2023 collection, in particular, paid homage to Dame Vivienne Westwood. The “Short Sleeve Corset Waist Dress” boldly combined prints with voluminous sleeves, cascading ruffles, and decorative ribbons—a design ethos echoed throughout their latest offerings. Simone Rocha’s “Embellished lace-trimmed metallic cloqué jacket” evoked the Victorian fashion era through opulent gold embellishments and textured fabric. It was a trend that invited people to step into a time machine while staying firmly rooted in the present.

Bold Colors: A Vibrant Palette Instead of earth tones and muted colors, bold hues dominated. Think electric blues, fiery reds, and vibrant yellows that brighten up the autumn landscape.

These striking colors brought energy and warmth to the season, challenging the notion that fall fashion must be subdued. Fashion houses like Versace and Balmain are champions of this colorful revolution, proving that autumn is not just about neutrals and earth tones.

Versace’s “Baroccodile Draped Bodysuit” showcased a rainbow of colors that added a pop of color against the colder weather.

Texture Play Oversized Tailoring: Embrace the Volume This season was all about embracing volume and oversized silhouettes, which brought a sense of drama and sophistication to people’s wardrobes with billowy sleeves, wide-leg pants, and oversized blazers taking center stage. It was a departure from the figure-hugging styles of previous seasons, allowing wearers to explore the art of subtlety through exaggeration. Jil Sander and The Row wholeheartedly embraced the trend with oversized blazers, wide-leg trousers and longline shirts and tunics that had a luxurious and minimalist edge. The Row’s “Rufos Pant” and “Myriam Jacket” are also well reflective of this trend.

These pieces are both comfortable and stylish, a perfect fit for the fall season when layering becomes an art form.

Textures took the spotlight in the eclectic fashion designs of Fall 2023. Fashion enthusiasts were encouraged to indulge in a sensory experience with luxurious fabrics, mixing leather with silk and velvet with denim. This trend was a tactile feast for the senses, creating depth and intrigue in every ensemble. Fendi and Tom Ford pushed the boundaries of texture play, demonstrating how diverse materials can be combined to create fashion magic. From shiny patent leather to soft faux fur, fall fashion is an invitation to experiment with the senses.

The fashion landscape of Fall 2023 is a celebration of eclecticism and diversity. It was a season that transcended traditional boundaries. Whatever you’re drawn to, there’s a place for your unique style in the fall fashion extravaganza. So, dare to mix, match, and express yourself—in the realm of eclectic fashion, the world is your canvas, and your style is the masterpiece. Embrace the diversity, express your individuality, and step confidently into a world of fashion that celebrates the beauty of eclecticism.

The Entropy Issue

53

EMBRACING THE

ECLECTIC

Eclectic fashion resonates with those who want to be bold, daring and true to themselves.

WRITTEN BY RACHEL LEE DESIGNED BY ANTONIA SOLAR ILLUSTRATED BY ISHA BHANDARU

W

hen the leaves begin to turn and the air crisps, the fashion world undergoes its own transformation.

Fall 2023 was a season of eclectic, diverse, and innovative fashion designs.

Eclectic fashion transcends the boundaries of conventional style, inviting individuals to explore, experiment, and express themselves in a myriad of ways. This distinctive approach to fashion embodies a true celebration of individuality, blending diverse influences and tastes into a mesmerizing mosaic of styles. Eclectic fashion is not just a trend; it’s a movement—a manifestation of the dynamic synthesis of cultures, eras, and personal stories. Runways are no longer limited to showcasing singular design aesthetics; instead, they’ve become a platform for the avantgarde, where unexpected pairings bring about breathtaking combinations. Here, we’ll explore the dynamic and varied trends that dominated the runway, and hopefully your wardrobe, during the fall.

52

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Fall 2023

Global Fusion This fall, fashion designers embraced global perspectives like never before.

Runway collections fused diverse cultural influences, resulting in a rich tapestry of patterns, textiles, and silhouettes.

From Moroccan-inspired embroidery to Japanese kimono-style draping, the season was all about celebrating the beauty of global diversity. Christian Dior and Prabal Gurung were at the forefront of this trend, showcasing a rich mix of cultural elements in their FW 2023 collections. The runway became a melting pot where different traditions and heritages harmoniously coexisted, inviting wearers to partake in a captivating sartorial journey across continents.

Luxury Meets Streetwear: Elevated Comfort The boundaries between luxury fashion and streetwear continued to blur this fall. Designers explored the concept of “casual opulence,” bringing comfort and extravagance together by matching oversized hoodies paired with luxurious silks and adorning sneakers with elegant embellishments. Brands such as Balenciaga and Off-White championed this trend, blending high fashion with streetwear and athleisure through hoodies and loungewear and showcasing how unexpected pairings can result in remarkable fashion moments. This season, you didn’t have to choose between comfort and luxury; you could have both.

Victorian Revival: A Nod to the Past Fall 2023 saw the return of Victorianinspired fashion but with a contemporary twist: high collars, ruffled blouses, and laced-up boots—all combined with modern cuts and fabrics. This fusion of past and present gave rise to a style that was both nostalgic and edgy, appealing to those who sought a touch of history in their wardrobe. Brands like Erdem and Simone Rocha beautifully incorporated Victorian elements into their collections, demonstrating how this historic style can be reimagined for the modern fashionista.

Erdem’s Autumn/Winter 2023 collection, in particular, paid homage to Dame Vivienne Westwood. The “Short Sleeve Corset Waist Dress” boldly combined prints with voluminous sleeves, cascading ruffles, and decorative ribbons—a design ethos echoed throughout their latest offerings. Simone Rocha’s “Embellished lace-trimmed metallic cloqué jacket” evoked the Victorian fashion era through opulent gold embellishments and textured fabric. It was a trend that invited people to step into a time machine while staying firmly rooted in the present.

Bold Colors: A Vibrant Palette Instead of earth tones and muted colors, bold hues dominated. Think electric blues, fiery reds, and vibrant yellows that brighten up the autumn landscape.

These striking colors brought energy and warmth to the season, challenging the notion that fall fashion must be subdued. Fashion houses like Versace and Balmain are champions of this colorful revolution, proving that autumn is not just about neutrals and earth tones.

Versace’s “Baroccodile Draped Bodysuit” showcased a rainbow of colors that added a pop of color against the colder weather.

Texture Play Oversized Tailoring: Embrace the Volume This season was all about embracing volume and oversized silhouettes, which brought a sense of drama and sophistication to people’s wardrobes with billowy sleeves, wide-leg pants, and oversized blazers taking center stage. It was a departure from the figure-hugging styles of previous seasons, allowing wearers to explore the art of subtlety through exaggeration. Jil Sander and The Row wholeheartedly embraced the trend with oversized blazers, wide-leg trousers and longline shirts and tunics that had a luxurious and minimalist edge. The Row’s “Rufos Pant” and “Myriam Jacket” are also well reflective of this trend.

These pieces are both comfortable and stylish, a perfect fit for the fall season when layering becomes an art form.

Textures took the spotlight in the eclectic fashion designs of Fall 2023. Fashion enthusiasts were encouraged to indulge in a sensory experience with luxurious fabrics, mixing leather with silk and velvet with denim. This trend was a tactile feast for the senses, creating depth and intrigue in every ensemble. Fendi and Tom Ford pushed the boundaries of texture play, demonstrating how diverse materials can be combined to create fashion magic. From shiny patent leather to soft faux fur, fall fashion is an invitation to experiment with the senses.

The fashion landscape of Fall 2023 is a celebration of eclecticism and diversity. It was a season that transcended traditional boundaries. Whatever you’re drawn to, there’s a place for your unique style in the fall fashion extravaganza. So, dare to mix, match, and express yourself—in the realm of eclectic fashion, the world is your canvas, and your style is the masterpiece. Embrace the diversity, express your individuality, and step confidently into a world of fashion that celebrates the beauty of eclecticism.

The Entropy Issue

53

“

Keep going, keep soul searching, and stay authentic through it all

ALIENATION to AUTHENTICITY

”

from

Navigate Salim’s path from Locust Walk to launching Dysfunctional District, as he unveils his inspiration and shares the exciting future of the brand

I

n the dynamic landscape of fashion, where trends come and go, Salim Roland, the founder of Dysfunctional District, challenges norms and embraces the chaos of individuality. Born in the US but raised in Ghana, Salim’s journey between alienation and unhindered self-expression mirrors the goal of his brand – welcoming individuals into a community that champions the motto, “we’re dysfunctional and we love it.”

Salim’s story begins with a non-traditional path, veering away from the pre-med trajectory his father envisioned and toward a Wharton education that positioned him well to navigate entrepreneurship and innovation. Throughout his time at Penn, he found himself drawn to the intricate dance of business, human connection, and an understanding of how the world works. During his freshman year, Salim took a graphic design course, reigniting a passion for creativity sparked by his high school DJ-ing days. As he followed this passion, he started “making designs and putting them on t-shirts, although it wasn’t about fashion yet. I was just sharing them with friends and

family and then found myself starting to get noticed.”

The pivotal moment came when he discovered the joy of dressing well and expressing himself through his clothing choices, noting that he “loved walking down Locust Walk and seeing what drip people were wearing.”

Fueled by the influence of creative geniuses like Virgil Abloh and a fervent desire to challenge conformity while boldly celebrating individuality, Salim came up with Dysfunctional District. At the core of his brand’s philosophy is the mantra “be yourself, be unbranded”, a guiding force propelling his creative vision and serving as a rallying cry against societal norms. As Salim remarked in his interview: “Everyone is seen as dysfunctional and crazy until they pop off and then they’re seen as a genius.” This idea encapsulates the essence of Dysfunctional District’s mission to redefine the narrative surrounding uniqueness and creativity. The brand’s focus on attention to detail, big prints, and distinctive shades and cuts elevates it above the noise of a market saturated with fleeting trends.

Acknowledging the tension between “needing

eyeballs and the validation that they bring and staying true to yourself”, Salim encourages aspiring designers to focus on why they’re interested in design in the first place: to represent themselves and influence people’s lives. He has passed up opportunities to grow the brand, prioritizing representing individuals who aspire to express themselves authentically, even if it results in slower growth. While there is a need to ensure that the brand appeals to a broader audience within the fashion industry, Salim emphasizes that “what you’re trying to represent must always be the greater part of the equation.”

The brand’s evolution extends beyond clothing. Dysfunctional District sees “clothing as a canvas” to convey messages, a means to engage with the community on a deeper level. Drawing inspiration from his own life and the sense of alienation many feel from day to day, Salim ultimately aims to help people express their individuality and break free from their sense of alienation. This is exactly what sparked his interest in designing the Fall 2023 Magic Gardens merch. He remembers Magic Gardens being

“an opportunity for [him] to be dysfunctional all the time.” Starting off as a DJ in the den, he lived in his own little creative bubble, vibing to music with friends over the volume of the main stage speakers. Magic Gardens was a time to be unapologetically himself, to meet cool people, and to immerse himself in his craft, which he was able to give back to by designing this season’s merch Next year will be a big one for Dysfunctional District. As the brand expands into homeware and events, it will become. not just a fashion brand, but a lifestyle.

Salim envisions a space where like-minded individuals can explore creativity, learn, and make a living pursuing their passions. The brand’s upcoming collaborations and endeavors into everyday items aim to remind people to be dysfunctional in the best way possible.

Salim’s take on fashion and life is a breath of fresh air that deviates from many of Penn’s—and society’s—unspoken rules. He hopes to bring together like-minded individuals who make their living by being true to themselves. His call to action for everyone, himself included: “Keep going, keep soul searching, and stay authentic through it all.”

WRITTEN BY ABBY PORTNOY DESIGNED BY YVETTE YAO AND ANTONIA SOLAR ILLUSTRATED BY MAGGIE SONG

54

The WALK Magazine

Fall 2023

The Entropy Issue

55

“

Keep going, keep soul searching, and stay authentic through it all

ALIENATION to AUTHENTICITY

”

from

Navigate Salim’s path from Locust Walk to launching Dysfunctional District, as he unveils his inspiration and shares the exciting future of the brand

I

n the dynamic landscape of fashion, where trends come and go, Salim Roland, the founder of Dysfunctional District, challenges norms and embraces the chaos of individuality. Born in the US but raised in Ghana, Salim’s journey between alienation and unhindered self-expression mirrors the goal of his brand – welcoming individuals into a community that champions the motto, “we’re dysfunctional and we love it.”

Salim’s story begins with a non-traditional path, veering away from the pre-med trajectory his father envisioned and toward a Wharton education that positioned him well to navigate entrepreneurship and innovation. Throughout his time at Penn, he found himself drawn to the intricate dance of business, human connection, and an understanding of how the world works. During his freshman year, Salim took a graphic design course, reigniting a passion for creativity sparked by his high school DJ-ing days. As he followed this passion, he started “making designs and putting them on t-shirts, although it wasn’t about fashion yet. I was just sharing them with friends and

family and then found myself starting to get noticed.”

The pivotal moment came when he discovered the joy of dressing well and expressing himself through his clothing choices, noting that he “loved walking down Locust Walk and seeing what drip people were wearing.”

Fueled by the influence of creative geniuses like Virgil Abloh and a fervent desire to challenge conformity while boldly celebrating individuality, Salim came up with Dysfunctional District. At the core of his brand’s philosophy is the mantra “be yourself, be unbranded”, a guiding force propelling his creative vision and serving as a rallying cry against societal norms. As Salim remarked in his interview: “Everyone is seen as dysfunctional and crazy until they pop off and then they’re seen as a genius.” This idea encapsulates the essence of Dysfunctional District’s mission to redefine the narrative surrounding uniqueness and creativity. The brand’s focus on attention to detail, big prints, and distinctive shades and cuts elevates it above the noise of a market saturated with fleeting trends.

Acknowledging the tension between “needing

eyeballs and the validation that they bring and staying true to yourself”, Salim encourages aspiring designers to focus on why they’re interested in design in the first place: to represent themselves and influence people’s lives. He has passed up opportunities to grow the brand, prioritizing representing individuals who aspire to express themselves authentically, even if it results in slower growth. While there is a need to ensure that the brand appeals to a broader audience within the fashion industry, Salim emphasizes that “what you’re trying to represent must always be the greater part of the equation.”

The brand’s evolution extends beyond clothing. Dysfunctional District sees “clothing as a canvas” to convey messages, a means to engage with the community on a deeper level. Drawing inspiration from his own life and the sense of alienation many feel from day to day, Salim ultimately aims to help people express their individuality and break free from their sense of alienation. This is exactly what sparked his interest in designing the Fall 2023 Magic Gardens merch. He remembers Magic Gardens being

“an opportunity for [him] to be dysfunctional all the time.” Starting off as a DJ in the den, he lived in his own little creative bubble, vibing to music with friends over the volume of the main stage speakers. Magic Gardens was a time to be unapologetically himself, to meet cool people, and to immerse himself in his craft, which he was able to give back to by designing this season’s merch Next year will be a big one for Dysfunctional District. As the brand expands into homeware and events, it will become. not just a fashion brand, but a lifestyle.

Salim envisions a space where like-minded individuals can explore creativity, learn, and make a living pursuing their passions. The brand’s upcoming collaborations and endeavors into everyday items aim to remind people to be dysfunctional in the best way possible.

Salim’s take on fashion and life is a breath of fresh air that deviates from many of Penn’s—and society’s—unspoken rules. He hopes to bring together like-minded individuals who make their living by being true to themselves. His call to action for everyone, himself included: “Keep going, keep soul searching, and stay authentic through it all.”

WRITTEN BY ABBY PORTNOY DESIGNED BY YVETTE YAO AND ANTONIA SOLAR ILLUSTRATED BY MAGGIE SONG

54

The WALK Magazine

Fall 2023

The Entropy Issue

55

J

OF THE MULTIVERSE

obu Tupaki (Stephanie Hsu) interlocks her fingers with Evelyn’s (Michelle Yeoh), and pulls their hands upward to reveal a gargantuan, black everything bagel that begins whirling.

People shriek as they are sucked into the bagel, the lights flicker and the entire office building quivers, sending mountains of paper in all directions. “I don’t care if you come with me. Enjoy your life,” laments Jobu, donning a bright kaleidoscopic sweater with two fullsized stuffed bears as sleeves, and a lock of hair sculpted to spell “Jobu” across her forehead. Evelyn, who is already covered in blood, is pinned down as Jobu makes her way up the stairs to the bagel, each step producing a resounding

56

The WALK Magazine

Everything Everywhere All At Once

Fall 2023

thud amid Evelyn’s pleas for Jobu not to enter the bagel.

This is only one of a plethora of chaotic scenes in the Oscar-winning 2022 blockbuster, Everything Everywhere All At Once. The film, directed by Daniel Kwan and Daniel Scheinert (jointly referred to as “the Daniels”), follows Chinese-American immigrant Evelyn on a wild journey of self-discovery and heroic empathy, as she explores possibilities of hot dog fingers, acting dreams, and laundromats across universes. The visual effects (VFX) team who orchestrated many elements of the indelible movie magic consisted of just five people, and was supervised by director and VFX artist Zak Stoltz.

Stoltz began his undergraduate career at Occidental

“

It’s the most cliché advice ever, but just get out there and make stuff. Make trash. Make things that aren’t good.

“

THE MAKING

A conversation with Zak Stoltz, visual effects supervisor of the Oscar-winning 2022 blockbuster,

College in Los Angeles as a STEM-oriented physics and math student. That pursuit was short-lived; a film class, coupled with extracurricular and social filmmaking activities, led him to major in the subject and paved the way for a career in the film industry. Throughout college, Stoltz supplemented his own education by teaching himself rudimentary visual effects with Adobe After Effects, as well as sound design and color correction. He began working as an editing assistant post-graduation, but continued on his journey to become a director, and shortly thereafter, he met the Daniels. “I ended up going to a screening at the Hammer Museum at UCLA,” Stoltz told me. “Dan [Kwan] and Daniel [Scheinert] had a short film that played, and I’d just seen their [work] the day before. I made a point to introduce myself to them.” Eventually, Stoltz sent one of his short films to the Daniels. They were impressed, and he was brought on to assist them in completing a short film in 2012.

Following his collaboration with the Daniels, Stoltz transitioned into directing roles, managing the production of music videos for artists like Ilira, Robin Schulz, and Run River North. Years later, Stoltz had wrapped up another series and was taking a short break between projects, and the Daniels were commencing their work on Everything Everywhere All At Once. They recruited Stoltz as the visual effects supervisor, and he assembled a small but mighty team of other directors who also dabbled in visual effects. This team of “generalists” had experience with all aspects of the filmmaking process, which was unusual given the scale of the film; a large film typically involves a legion of highly specialized VFX artists due to the sheer volume of post-production tasks, including modeling 3D objects, lighting, compositing, and integrating objects with footage. Beyond the substantial workload for each individual team member, what set Stoltz’s team apart was the necessity for each person to understand the full life cycle of the scene, from raw footage to the finished product: “It was a more holistic thing,” Stoltz said. “What is the shot? What needs to happen? What are we trying to communicate with this?” Stoltz also acknowledged a sense of ownership that arose for each artist when they worked on scenes from start to finish, and emphasized that everyone on the team had honed their creative skills across disciplines over many years.

Filming for the movie wrapped at the dawn of the

pandemic, dramatically shifting the architecture of the editing process. “We would have [had] everyone in the same room working on this stuff. It was going to be a much more fluid and personal process, but because of COVID we had to scrap that idea completely,” Stoltz explained.

“We ultimately settled on a system where we could all be sharing files. We would use Zoom to check in and say hello, see what everyone was working on… It was still a bit of a lonely process.” Despite the hiccups, the visual effects team soldiered on, fleshing out creative details alongside the directors. Stoltz noted that the process was collaborative, with several iterations between the team and the Daniels, but that they were largely trusted to find ways to bring the Daniels’ vision to life. This creative harmony and intimate discussion was part of the motivation for a small, tight-knit VFX team: “[The Daniels] wanted people who could almost read their mind, to be able to take [their] words and emotions and translate that into something visual that would fit within the context of the movie.”

The film’s overwhelming success, both at the box office and at the Oscars, dramatically shifted Stoltz’s career; since its release, he has completed two more films as visual effects supervisor, and now co-owns a visual effects company with the members of the Everything Everywhere All At Once VFX team—a turn of events he never expected. He hopes to eventually make a return to directing armed with the knowledge he gained from these experiences. His advice to people breaking into the film industry: “It’s the most cliché advice ever, but just get out there and make stuff. Make trash. Make things that aren’t good. Because if you have good taste, and you have a sense of what you’re trying to do, you’ll get better with every project.” He also advises new filmmakers to become familiar with every part of the process, from scriptwriting to costume design to lighting. It is all interconnected, and it is all challenging, he said, but having context of the process as a whole will make you better at each individual aspect.

After several intense fight scenes, split-second blips through the multiverse, and at one point, a silent interaction between googly-eyed rocks, emotional conversations begin to take center stage in the film. “Here, all we get are a few specks of time where any of this actually makes any sense,” Joy (Stephanie Hsu) tearfully says to Evelyn towards the end. “Then I will cherish those few specks of time,” Evelyn replies. Stoltz’s favorite scene that he worked on in the film is just that: a speck of time. “My favorite, favorite scene that I edited,” he noted, “is the last visual effects shot in the movie. It’s just an invisible effect; I was getting rid of someone’s hand on the back of a car.”

He’d saved something super easy for the end, he added.

Once he finished it, the movie—in all its glory—was done.

WRITTEN BY ADELYN CHEN ILLUSTRATIONS BY ATTICUS LIM DESIGN BY ANTONIA SOLAR AND LOUISE WANG

The Entropy Issue

57

J

OF THE MULTIVERSE

obu Tupaki (Stephanie Hsu) interlocks her fingers with Evelyn’s (Michelle Yeoh), and pulls their hands upward to reveal a gargantuan, black everything bagel that begins whirling.

People shriek as they are sucked into the bagel, the lights flicker and the entire office building quivers, sending mountains of paper in all directions. “I don’t care if you come with me. Enjoy your life,” laments Jobu, donning a bright kaleidoscopic sweater with two fullsized stuffed bears as sleeves, and a lock of hair sculpted to spell “Jobu” across her forehead. Evelyn, who is already covered in blood, is pinned down as Jobu makes her way up the stairs to the bagel, each step producing a resounding

56

The WALK Magazine

Everything Everywhere All At Once

Fall 2023

thud amid Evelyn’s pleas for Jobu not to enter the bagel.

This is only one of a plethora of chaotic scenes in the Oscar-winning 2022 blockbuster, Everything Everywhere All At Once. The film, directed by Daniel Kwan and Daniel Scheinert (jointly referred to as “the Daniels”), follows Chinese-American immigrant Evelyn on a wild journey of self-discovery and heroic empathy, as she explores possibilities of hot dog fingers, acting dreams, and laundromats across universes. The visual effects (VFX) team who orchestrated many elements of the indelible movie magic consisted of just five people, and was supervised by director and VFX artist Zak Stoltz.

Stoltz began his undergraduate career at Occidental

“

It’s the most cliché advice ever, but just get out there and make stuff. Make trash. Make things that aren’t good.

“

THE MAKING

A conversation with Zak Stoltz, visual effects supervisor of the Oscar-winning 2022 blockbuster,

College in Los Angeles as a STEM-oriented physics and math student. That pursuit was short-lived; a film class, coupled with extracurricular and social filmmaking activities, led him to major in the subject and paved the way for a career in the film industry. Throughout college, Stoltz supplemented his own education by teaching himself rudimentary visual effects with Adobe After Effects, as well as sound design and color correction. He began working as an editing assistant post-graduation, but continued on his journey to become a director, and shortly thereafter, he met the Daniels. “I ended up going to a screening at the Hammer Museum at UCLA,” Stoltz told me. “Dan [Kwan] and Daniel [Scheinert] had a short film that played, and I’d just seen their [work] the day before. I made a point to introduce myself to them.” Eventually, Stoltz sent one of his short films to the Daniels. They were impressed, and he was brought on to assist them in completing a short film in 2012.

Following his collaboration with the Daniels, Stoltz transitioned into directing roles, managing the production of music videos for artists like Ilira, Robin Schulz, and Run River North. Years later, Stoltz had wrapped up another series and was taking a short break between projects, and the Daniels were commencing their work on Everything Everywhere All At Once. They recruited Stoltz as the visual effects supervisor, and he assembled a small but mighty team of other directors who also dabbled in visual effects. This team of “generalists” had experience with all aspects of the filmmaking process, which was unusual given the scale of the film; a large film typically involves a legion of highly specialized VFX artists due to the sheer volume of post-production tasks, including modeling 3D objects, lighting, compositing, and integrating objects with footage. Beyond the substantial workload for each individual team member, what set Stoltz’s team apart was the necessity for each person to understand the full life cycle of the scene, from raw footage to the finished product: “It was a more holistic thing,” Stoltz said. “What is the shot? What needs to happen? What are we trying to communicate with this?” Stoltz also acknowledged a sense of ownership that arose for each artist when they worked on scenes from start to finish, and emphasized that everyone on the team had honed their creative skills across disciplines over many years.

Filming for the movie wrapped at the dawn of the

pandemic, dramatically shifting the architecture of the editing process. “We would have [had] everyone in the same room working on this stuff. It was going to be a much more fluid and personal process, but because of COVID we had to scrap that idea completely,” Stoltz explained.

“We ultimately settled on a system where we could all be sharing files. We would use Zoom to check in and say hello, see what everyone was working on… It was still a bit of a lonely process.” Despite the hiccups, the visual effects team soldiered on, fleshing out creative details alongside the directors. Stoltz noted that the process was collaborative, with several iterations between the team and the Daniels, but that they were largely trusted to find ways to bring the Daniels’ vision to life. This creative harmony and intimate discussion was part of the motivation for a small, tight-knit VFX team: “[The Daniels] wanted people who could almost read their mind, to be able to take [their] words and emotions and translate that into something visual that would fit within the context of the movie.”

The film’s overwhelming success, both at the box office and at the Oscars, dramatically shifted Stoltz’s career; since its release, he has completed two more films as visual effects supervisor, and now co-owns a visual effects company with the members of the Everything Everywhere All At Once VFX team—a turn of events he never expected. He hopes to eventually make a return to directing armed with the knowledge he gained from these experiences. His advice to people breaking into the film industry: “It’s the most cliché advice ever, but just get out there and make stuff. Make trash. Make things that aren’t good. Because if you have good taste, and you have a sense of what you’re trying to do, you’ll get better with every project.” He also advises new filmmakers to become familiar with every part of the process, from scriptwriting to costume design to lighting. It is all interconnected, and it is all challenging, he said, but having context of the process as a whole will make you better at each individual aspect.

After several intense fight scenes, split-second blips through the multiverse, and at one point, a silent interaction between googly-eyed rocks, emotional conversations begin to take center stage in the film. “Here, all we get are a few specks of time where any of this actually makes any sense,” Joy (Stephanie Hsu) tearfully says to Evelyn towards the end. “Then I will cherish those few specks of time,” Evelyn replies. Stoltz’s favorite scene that he worked on in the film is just that: a speck of time. “My favorite, favorite scene that I edited,” he noted, “is the last visual effects shot in the movie. It’s just an invisible effect; I was getting rid of someone’s hand on the back of a car.”

He’d saved something super easy for the end, he added.

Once he finished it, the movie—in all its glory—was done.

WRITTEN BY ADELYN CHEN ILLUSTRATIONS BY ATTICUS LIM DESIGN BY ANTONIA SOLAR AND LOUISE WANG

The Entropy Issue

57

CHAOTIC

58

The WALK Magazine

Fall 2023

Our enthralling exploration of Entropy comes to a grand finale as we reach full disorder. Inspired by the seemingly random but deliberate clashing between styles in contemporary fashion, our styling aims to capture such perceived chaos. Boldly layered pieces with vibrant colors and unique textures, alongside daring makeup looks, enable our models to embody the essence of disorder.

They mirror the unpredictability and excitement found in the intersection of contrasting elements. Creating further polarity, the settings shift between everyday locales—from local convenience stores to laundry rooms and more—capturing chaos against the backdrop of the mundane. It is a deliberate juxtaposition that elevates disorder to an art form, an ode to the extraordinary chaos that lurks beneath the surface of our everyday lives.

At its core, “Chaotic” demonstrates beauty in its most unbridled form.

The Entropy Issue

59

CHAOTIC

58

The WALK Magazine

Fall 2023

Our enthralling exploration of Entropy comes to a grand finale as we reach full disorder. Inspired by the seemingly random but deliberate clashing between styles in contemporary fashion, our styling aims to capture such perceived chaos. Boldly layered pieces with vibrant colors and unique textures, alongside daring makeup looks, enable our models to embody the essence of disorder.

They mirror the unpredictability and excitement found in the intersection of contrasting elements. Creating further polarity, the settings shift between everyday locales—from local convenience stores to laundry rooms and more—capturing chaos against the backdrop of the mundane. It is a deliberate juxtaposition that elevates disorder to an art form, an ode to the extraordinary chaos that lurks beneath the surface of our everyday lives.

At its core, “Chaotic” demonstrates beauty in its most unbridled form.

The Entropy Issue

59

60

The WALK Magazine

Fall 2023

The Entropy Issue

61

60

The WALK Magazine

Fall 2023

The Entropy Issue

61

DIRECTED BY DARYA AMERI, SARAHBELLE KIM, VICTORIA ROSA, OLIVIA KIM. STYLED BY TONY ZHANG, ALY KERRIGAN, JACKIE ERRERA. MAKEUP

BY RIYA SINHA, ADYA GUPTA. MODELED BY CARLEE REID, CALLIA THORNTON, SURINA RAMOUTAR. PHOTOGRAPHED

BY INTEL CHEN, GIULIANA ALLEVA, ZARA BAIG. DESCRIPTION

BY DARYA AMERI AND ADELYN CHEN. DESIGN BY JACKIE HU.

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Fall 2023

The Entropy Issue

63

DIRECTED BY DARYA AMERI, SARAHBELLE KIM, VICTORIA ROSA, OLIVIA KIM. STYLED BY TONY ZHANG, ALY KERRIGAN, JACKIE ERRERA. MAKEUP

BY RIYA SINHA, ADYA GUPTA. MODELED BY CARLEE REID, CALLIA THORNTON, SURINA RAMOUTAR. PHOTOGRAPHED

BY INTEL CHEN, GIULIANA ALLEVA, ZARA BAIG. DESCRIPTION

BY DARYA AMERI AND ADELYN CHEN. DESIGN BY JACKIE HU.

62

The WALK Magazine

Fall 2023

The Entropy Issue

63

WHAT

CINEMATIC UNIVERSE IS THIS? Tracing trends in new cinema, and its descent into disarray A

s the credits rolled on the most anticipated movie of the summer, I found myself inexplicably disappointed. “Barbie World” by Nicki Minaj and Ice Spice played the soundtrack to a dejected exit from my local cinema. A traitor to my fellow Greta Gerwig fans (and potentially even to all things feminist): I didn’t love the Barbie movie.

I don’t aim to have a contrarian take or to join the army of conservative male podcasters on a senseless tirade against pieces of media that women love. There are aspects of the Barbie movie that I absolutely adored. The huge cast of Barbies, from Sharon Rooney to Issa Rae, recalled the favorite actresses of a generation, and the self-aware references to Barbie’s complex history with body image were well-executed. It’s hard to fault the attention to detail with the set, costume design, and the backing tracks. It felt like the writers had a firm “finger on the pulse,” so to speak: the references to the 2015 Pride and Prejudice and the moment that Simu Liu’s Ken jumped at the chance to mansplain The Godfather are two of my personal favorites.

What left me feeling let down wasn’t the content of the movie so much as it 64

The WALK Magazine

Fall 2023

was what Barbie represents for the future of cinema. For me, the film is symptomatic of a wider trend towards underdeveloped big-budget movies, prioritizing marketing over storytelling, and directors being led astray by the paychecks attached to existing intellectual property or brief fads. Most recently in Hollywood, the Screen Actors Guild (SAG) and the Writer’s Guild of America (WGA) are emerging from the strikes with a tentative deal, gaining better residuals for streaming shows and some protections from AI, among other things. However, this does little to settle the looming sense of dread about the threats creatives are facing in the movie industry today.

“Cinema is BACK”: the false hope of Barbenheimer

The resurgence of movie-going, the grand return of popular cinema, and the comeback-kid that was “the box office hit”: we all likely remember Barbenheimer weekend. As Greta Gerwig’s Barbie and Christopher Nolan’s Oppenheimer were scheduled for release in theatres on July 21st, movie lovers around the world readied themselves for a dichotomous double

WRITTEN BY GRACE HOLDEN DESIGNED BY ANTONIA SOLAR ILLUSTRATED BY ISHA BHANDARU feature. In the US alone, opening weekend saw Barbie rake in $155 million, with Oppenheimer placing second at the box office at $80.5 million. This was the biggest collective box office turnout of the post-pandemic era, and the fourth-biggest in history. Pessimistic though it is to ask: Was this really a comeback for cinema, or was it the next episode in its downward spiral?

Truthfully, I thought the feminist storyline of the Barbie movie fell really flat.

This is where I’m most at risk of playing into the sweaty hands of banal rightwing critics like Ben Shapiro, who clearly watched the movie with their eyes closed, ready to spew out something hateful about a movie they barely understood. This is not my intention. I really just thought that America Ferreira’s speech about womanhood didn’t rock the boat, nor did it contribute to modern feminism in any groundbreaking way. Not every movie made by and for women has to contribute something complex to feminism in pop culture—this would pose an undue burden on female writers and directors.

However, this particular movie came wrapped in the trappings of the next feminist masterpiece. The online hype and the

marketing campaign had audience members like me arriving at the movie theater a coherent storyline. I was asking myself: when did we forgo storytelling for hype?

Barbie’s $150 million marketing fund actually cost more than the production of the movie itself. The sheer hustle by the marketing department of Gerwig’s movie can only be respected. I don’t hate seeing pink products on the shelves, nor do I hate my social media feeds being populated by Barbie-themed ads and plugs: what is concerning is the potential for the continued commercialization of creative endeavors.

That creativity will be washed away by questions of what can win the most money through brand deals and collaborations.

There is a real possibility that Barbie has set a new high bar for marketing by the movie-making machine. Will movies be considered a success if they can’t garner this much popular attention, and—in turn—what does that mean for the types of stories being chosen for production?

Directors and producers are only thinking about script options that capitalize on the attention economy, rather than generating thought-provoking new ideas.

Prequels, sequels, lions, tigers, and bears (oh my!)

Barbie has recently opened my eyes to the threat of commercialization in creative spaces, but the oversaturation of remakes, prequels, and sequels in new Hollywood has been a longtime frustration. Just off the top of my head, Kenya Barris (creator of Black-ish) is remaking The Wizard of Oz, Greta Gerwig herself has committed to the latest reimagining of Narnia, and it has been mildly disturbing to find that Timothee Chalamet will be starring in (yet another) “fresh take” on Willy Wonka by director Paul King.

Meanwhile, the Marvel Cinematic Universe is creating content off the hook, forgoing the witty charm of Downey Jr’s 2008 Ironman for mindless action and 20-minute battle sequences (where the tight-clad superhero ultimately prevails over an otherworldly evil). Prequels and sequels are a cheap way out of buying new intellectual property and a way of capitalizing on the nostalgia of adults who grew up in the golden age of popular cinema. Ultimately, choices at the cinema are littered with empty plots and rushed content, making it easy to imagine where burgeoning AI technology could

take the place of an underpaid writer tasked with putting pen to paper for Sonic the Hedgehog 3 (set to release in 2024).

This isn’t to say great cinema isn’t being produced. But I feel confident in saying that it’s receiving less attention than ever, stuck to the margins, and revered mostly by gatekeeping film-bros on their Letterboxd accounts. The box office hits are undeniably the films where everyday audiences can most easily be exposed to great cinema. We’re not all going to Cannes and having our minds blown by films made without the looming threat of commercial failure. It used to be Hollywood’s responsibility to produce movies that changed perspectives and pushed the boundaries. It wasn’t just a movie factory; it was making films with real artistic merit and entrusting viewers to form their own opinions.

With remakes, sequels, and marketing monstrosities like Barbie, it’s tough to leave cinemas today and feel fully at liberty to form your own opinions. With remakes or live action re-imaginings, the concept is recycled and so viewers show up to reaffirm their nostalgic love for the original (a phenomenon Tina Fey’s Mean Girls remake will be counting on). Otherwise, the film is backed by a marketing machine which makes free thought about the movie almost impossible—the force of public opinion has already decided for you.

Hollywood on strike and thoughts for the future

The reckoning within the TV and film industry over the past year has shaken Hollywood to its shallow core. The birth of streaming, and the threats posed by AI in creative spaces brought writers and actors to the picket lines in droves. The SAG-AFTRA strike (representing performers, actors, and media professionals) lasted 118 days and overlapped with the Writers Guild of America strike which lasted 148 days. It was one of the longest labor crises in the history of entertainment in America and provoked international debate about the obligations of studios to protect creatives from rapidly advancing technology.

Among other issues, the strike brought attention to how scripts could be written by AI programs regurgitating formulaic plotlines. We’re looking at a future of cinema, where whole feature-length films might be written without the involvement of a writer’s room (full of real human professionals). As streaming ser-

vices are pressured to produce endless new content to keep viewers paying their monthly subscription fee, we might see a rollback of writer costs in favor of AI-written plots. However, now that the dust has settled on the strikes and the WGA has achieved a level of protection from advancing technologies, does this mean that Hollywood is out of the woods? Can the industry get back up and running as if the very fabric of free thought in movie production wasn’t under pressing threat just months ago? The state of disarray Hollywood finds itself in is not setting the tone of an industry ready to produce cinema that expands the cultural conscience.

Now that the writers are back and the actors are prepped in their trailers, are we going to see more creative storylines? Pessimistically, it could be said that we’re only going to see creative maneuvers by movie producers to tighten their belts in a post-strike era, creative big-budget marketing, and creative ways to capitalize on the childhood nostalgia of us college-age movie-goers.

As Ruth Handler tells Margot Robbie’s Barbie in the movie: “Humans only have one ending. Ideas live forever.” The films that have moved me most have had legacies that far outlast their writers, with meanings that shift and change across new generations. If profitability takes precedence over artistry (where marketing campaigns rob audiences of the freedom of interpretation, and AI writing produces a neverending onslaught of sub-par plots) then we’re in danger of losing films with lasting meaning. We’re in danger of losing films that “live forever.”

The Entropy Issue

65

WHAT

CINEMATIC UNIVERSE IS THIS? Tracing trends in new cinema, and its descent into disarray A

s the credits rolled on the most anticipated movie of the summer, I found myself inexplicably disappointed. “Barbie World” by Nicki Minaj and Ice Spice played the soundtrack to a dejected exit from my local cinema. A traitor to my fellow Greta Gerwig fans (and potentially even to all things feminist): I didn’t love the Barbie movie.

I don’t aim to have a contrarian take or to join the army of conservative male podcasters on a senseless tirade against pieces of media that women love. There are aspects of the Barbie movie that I absolutely adored. The huge cast of Barbies, from Sharon Rooney to Issa Rae, recalled the favorite actresses of a generation, and the self-aware references to Barbie’s complex history with body image were well-executed. It’s hard to fault the attention to detail with the set, costume design, and the backing tracks. It felt like the writers had a firm “finger on the pulse,” so to speak: the references to the 2015 Pride and Prejudice and the moment that Simu Liu’s Ken jumped at the chance to mansplain The Godfather are two of my personal favorites.

What left me feeling let down wasn’t the content of the movie so much as it 64

The WALK Magazine

Fall 2023

was what Barbie represents for the future of cinema. For me, the film is symptomatic of a wider trend towards underdeveloped big-budget movies, prioritizing marketing over storytelling, and directors being led astray by the paychecks attached to existing intellectual property or brief fads. Most recently in Hollywood, the Screen Actors Guild (SAG) and the Writer’s Guild of America (WGA) are emerging from the strikes with a tentative deal, gaining better residuals for streaming shows and some protections from AI, among other things. However, this does little to settle the looming sense of dread about the threats creatives are facing in the movie industry today.

“Cinema is BACK”: the false hope of Barbenheimer

The resurgence of movie-going, the grand return of popular cinema, and the comeback-kid that was “the box office hit”: we all likely remember Barbenheimer weekend. As Greta Gerwig’s Barbie and Christopher Nolan’s Oppenheimer were scheduled for release in theatres on July 21st, movie lovers around the world readied themselves for a dichotomous double

WRITTEN BY GRACE HOLDEN DESIGNED BY ANTONIA SOLAR ILLUSTRATED BY ISHA BHANDARU feature. In the US alone, opening weekend saw Barbie rake in $155 million, with Oppenheimer placing second at the box office at $80.5 million. This was the biggest collective box office turnout of the post-pandemic era, and the fourth-biggest in history. Pessimistic though it is to ask: Was this really a comeback for cinema, or was it the next episode in its downward spiral?

Truthfully, I thought the feminist storyline of the Barbie movie fell really flat.

This is where I’m most at risk of playing into the sweaty hands of banal rightwing critics like Ben Shapiro, who clearly watched the movie with their eyes closed, ready to spew out something hateful about a movie they barely understood. This is not my intention. I really just thought that America Ferreira’s speech about womanhood didn’t rock the boat, nor did it contribute to modern feminism in any groundbreaking way. Not every movie made by and for women has to contribute something complex to feminism in pop culture—this would pose an undue burden on female writers and directors.

However, this particular movie came wrapped in the trappings of the next feminist masterpiece. The online hype and the

marketing campaign had audience members like me arriving at the movie theater a coherent storyline. I was asking myself: when did we forgo storytelling for hype?

Barbie’s $150 million marketing fund actually cost more than the production of the movie itself. The sheer hustle by the marketing department of Gerwig’s movie can only be respected. I don’t hate seeing pink products on the shelves, nor do I hate my social media feeds being populated by Barbie-themed ads and plugs: what is concerning is the potential for the continued commercialization of creative endeavors.

That creativity will be washed away by questions of what can win the most money through brand deals and collaborations.

There is a real possibility that Barbie has set a new high bar for marketing by the movie-making machine. Will movies be considered a success if they can’t garner this much popular attention, and—in turn—what does that mean for the types of stories being chosen for production?

Directors and producers are only thinking about script options that capitalize on the attention economy, rather than generating thought-provoking new ideas.

Prequels, sequels, lions, tigers, and bears (oh my!)

Barbie has recently opened my eyes to the threat of commercialization in creative spaces, but the oversaturation of remakes, prequels, and sequels in new Hollywood has been a longtime frustration. Just off the top of my head, Kenya Barris (creator of Black-ish) is remaking The Wizard of Oz, Greta Gerwig herself has committed to the latest reimagining of Narnia, and it has been mildly disturbing to find that Timothee Chalamet will be starring in (yet another) “fresh take” on Willy Wonka by director Paul King.

Meanwhile, the Marvel Cinematic Universe is creating content off the hook, forgoing the witty charm of Downey Jr’s 2008 Ironman for mindless action and 20-minute battle sequences (where the tight-clad superhero ultimately prevails over an otherworldly evil). Prequels and sequels are a cheap way out of buying new intellectual property and a way of capitalizing on the nostalgia of adults who grew up in the golden age of popular cinema. Ultimately, choices at the cinema are littered with empty plots and rushed content, making it easy to imagine where burgeoning AI technology could

take the place of an underpaid writer tasked with putting pen to paper for Sonic the Hedgehog 3 (set to release in 2024).

This isn’t to say great cinema isn’t being produced. But I feel confident in saying that it’s receiving less attention than ever, stuck to the margins, and revered mostly by gatekeeping film-bros on their Letterboxd accounts. The box office hits are undeniably the films where everyday audiences can most easily be exposed to great cinema. We’re not all going to Cannes and having our minds blown by films made without the looming threat of commercial failure. It used to be Hollywood’s responsibility to produce movies that changed perspectives and pushed the boundaries. It wasn’t just a movie factory; it was making films with real artistic merit and entrusting viewers to form their own opinions.

With remakes, sequels, and marketing monstrosities like Barbie, it’s tough to leave cinemas today and feel fully at liberty to form your own opinions. With remakes or live action re-imaginings, the concept is recycled and so viewers show up to reaffirm their nostalgic love for the original (a phenomenon Tina Fey’s Mean Girls remake will be counting on). Otherwise, the film is backed by a marketing machine which makes free thought about the movie almost impossible—the force of public opinion has already decided for you.

Hollywood on strike and thoughts for the future

The reckoning within the TV and film industry over the past year has shaken Hollywood to its shallow core. The birth of streaming, and the threats posed by AI in creative spaces brought writers and actors to the picket lines in droves. The SAG-AFTRA strike (representing performers, actors, and media professionals) lasted 118 days and overlapped with the Writers Guild of America strike which lasted 148 days. It was one of the longest labor crises in the history of entertainment in America and provoked international debate about the obligations of studios to protect creatives from rapidly advancing technology.

Among other issues, the strike brought attention to how scripts could be written by AI programs regurgitating formulaic plotlines. We’re looking at a future of cinema, where whole feature-length films might be written without the involvement of a writer’s room (full of real human professionals). As streaming ser-

vices are pressured to produce endless new content to keep viewers paying their monthly subscription fee, we might see a rollback of writer costs in favor of AI-written plots. However, now that the dust has settled on the strikes and the WGA has achieved a level of protection from advancing technologies, does this mean that Hollywood is out of the woods? Can the industry get back up and running as if the very fabric of free thought in movie production wasn’t under pressing threat just months ago? The state of disarray Hollywood finds itself in is not setting the tone of an industry ready to produce cinema that expands the cultural conscience.

Now that the writers are back and the actors are prepped in their trailers, are we going to see more creative storylines? Pessimistically, it could be said that we’re only going to see creative maneuvers by movie producers to tighten their belts in a post-strike era, creative big-budget marketing, and creative ways to capitalize on the childhood nostalgia of us college-age movie-goers.

As Ruth Handler tells Margot Robbie’s Barbie in the movie: “Humans only have one ending. Ideas live forever.” The films that have moved me most have had legacies that far outlast their writers, with meanings that shift and change across new generations. If profitability takes precedence over artistry (where marketing campaigns rob audiences of the freedom of interpretation, and AI writing produces a neverending onslaught of sub-par plots) then we’re in danger of losing films with lasting meaning. We’re in danger of losing films that “live forever.”

The Entropy Issue

65

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