The WALK Fall 2019

THE

subliminal

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Copyright © 2019 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.

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

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Lauren Tappan Editor-in-Chief

Davery Joso, Natalia Rommen Creative Directors

Siyuan Liu, Claire Shin

Anna Jellinek

Krishna Sivakumar

Michelle Xiong

Design Directors

Marketing Director

Finance Director

Video Director

Varshini Gali

Natalie Sadjo

Caitlin McNamara

Caroline Gibson

Sarah Llewellyn

Editorial Director

Operations Director

Social Media Director

Photography Director

Website Director

EDITORIAL

Fashion Editor Amy Marcus • Features Editor Lisa Yang • People Editor Karen Pan Copy Editors Nancy Zhu, Selin Segvi Okcu, Sloane Kapit, Bella Ozomaro • Writers Alexandra Nichols, Eliana Waxman, Tyler Lawson, Sarah

Llewellyn, Bebe Hodges, Emily Liu, Mehek Boparai, Addie Brown PHOTOGRAPHY

Photographers Shirley Yang, Nathaly De La Paz, Gracelynn Wan, Erica Xin, Teresa Xie, Simon Chen, Sudeep Solanki Bhargava, Shinyoung

Hailey Noh, Julia Deng, Adrianna Brusie, Sharon Kuo, Intel Chen, Biruktawit Tibebe, Christy Wu, Sarah Yoon, Preston Heard, Sklyar Scafidi VIDEO

Videographers Morgan Jones, Joy Leeswadtrakul, Pia Singh, Michelle Ma

DESIGN

Assistant Art Director Gracelynn Wan

Layout Designers Megan Cardosi, Sudeep Solanki Bhargava, Christy Qiu, Claire Marucci, Shiqi Kitty Chen, Sharon Kuo, Sonia Shah Illustrators Erin Cho, Brandon Li, Michelle Ma, Naomi Boruchowicz

ST YLING & BEAUT Y

Fashion Director Paolo Nasr • Beauty Director Giovanni Sena

Apparel Stylists Samantha Braffman, Jen Ahn, Akhil Vaidya, Ania Swider, Sydney Schwartz, Jaewoo Kang, Amy Win, Bo Ku, Ally Pisacane, Annie Ma, Megha Raman, Egret Jin, Ellen Manford • Beauty Stylists Emily Yao, Emily Yang, Emma Jabr, Chidera Asiegbu, Sciaska, Ulysse,

Lucy (Nuri) Jung, Nicole Ng, Anna Naggar, Nhi Nguyen, Sydney Schwartz FINANCE

Corporate Sponsorship Chairs Michelle Yeung, June Perteet, Ana Hallman, Lily Druker, Odyssia Sifounaki, Katie Yang, Linya Liu, Tram Anh

Tran, Amanda Cohn, Winni Zhang OPERATIONS

Operation Coordinators Amanda Cohn, Grace Wu, Emily Liu Social Chairs Michelle Mahecha Perez, Catherine Liu • Merch Designers Misheel Soyol-Erdene, Bryan Joung

THE WALK ONLINE

Web Creative Director Leina Betzer • Web Managing Editor Tyler Lawson • Web Manager Adeleke McMillan Fashion Editors Allison Walter, Javier Perez, Bebe Hodges • Health & Beauty Editor Adriana Richmond • Culture Editor Del Patel • Features Editor Sue Lee • Fashion Writers Emma Van Zandt, Bella Ozomaro, Vicki Li, Kennedy Benjamin, Anushree Aneja, Emma Sheldon, Katharine Larson • Health & Beauty Writers Lana Salloum • Culture Writers Kyle Whiting, Sarah Ko, Mehek Boparai • Features Writers Marina Gialanella, Tyler Daniels • Beauty Stylists Nicole Ng, Olivia de Rezende, Ennie Gantulga, Keri Zhang • Apparel Stylists Alice Zhao, Marina Gialanella, Amanda Cohn, Hannah Cronin • Photographers/Videographers Jessica Saad, Shirley Li, Erica Xin, Ashley Osiason, Maddy Fair

MARKETING

Brand Outreach Coordinators Kennedy Benjamin, Olivia de Rezende

Event Coordinators Caroline Kaplan, Amelia Przybyl, Lea Dornacher, Lily Druker, Jojo Cotto, Eliza Penn, Ava Cruz

SOCIAL MEDIA

Events Manager Margaret Lu • Engagement Manager Najma Dayib • Content Producers Amanda Simpson, Gi (Roy) Lee, Zixuan Zhao, Liana KayeLew, Lindsey Randall, Maya Sherwood, Chae Kim • Photographer Jonathan Song

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Not Your Fantasy PHOTO ESSAY

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The Subliminal Within Us

Is cancel culture be leading us to lack of thoughtfulness in decision making?

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End It: Calling Out Cancel Culture Is cancel culture be leading us to lack of thoughtfulness in decision making?

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Dreams at Dawn PHOTO ESSAY

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Can Finstas Save Us From Social Media?

Are goofy, parody profiles the solution to the toxicity of social media?

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Out of Touch

The hidden challenges of growing up black in white suburbia

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Majestic Melanin PHOTO ESSAY

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Music Videos are the New Social Commentary Flashy visuals and booming audio with a side of societal critique, please

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Breaking the Gender Binary in Fashion: Past to Present How society has challenged gender stereotypes throughout history

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Blurred Boundaries PHOTO ESSAY

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Power to the Pantsuit The egalitarian evolution of the pantsuit in politics

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Out: Prada, In: Produce (Organic!)

Behind the “modesty� of newfound status symbols

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Interview with The Shop T H E WA L K M AG A Z I N E

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Cover Look: SUBLIMINAL Subliminal is melodic word, possessing beauty in its sound. It is also inherently multifaceted by definition, as it invites a subjective interpretation. Thus, it comes as no surprise that attempting to manifest the concept behind subliminal posed quite a challenge for The WALK. Nevertheless we successfully took on the task. This striking cover embodies the notion of subliminal, for underneath its power and beauty lies a deeper understanding of the intersections between culture, politics and identity.

View more on page 32.

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LETTER FROM THE

EDITOR B

Lauren Tappan photographed by Biruk Tibebe.

y definition, the word “subliminal” is an adjective that conveys the notion of a stimulus—or a mental process—below the threshold of consciousness. In other words, “subliminal” can be interpreted as underlying messages that linger beneath the surface of what is overtly visible to the eye. In our society, there is an overwhelming presence of subliminal symbols that oftentimes exist without us being consciously aware of them. I believe that fashion publications have the capacity to uncover these deeper messages by examining our society through vivid imagery and powerful language.

If observed in an emblematic manner, one will find that fashion is in fact subliminal art. Fashion designers meticulously piece together fabrics to display artwork that represents more than just clothing and accessories. When asked

by GQ Magazine about his designs, Louis Vuitton Menswear Designer Virgil Abloh answered, “It adds depth to what could be surface. There has to be depth.

There has to be a reason why.” Even Vogue Editor-in-Chief Anna Wintour has commented on the symbolism of fashion: “If you look at any great fashion photograph out of context, it will tell you just as much about what’s going on in the world as a headline in The New York Times.”

Through the Subliminal Issue, The WALK aims to do just that— analyzing messages that are deeply woven within the fabric of our contemporary society.

Tyler Lawson’s “Out of Touch” exhibits the complexities behind being black in predominantly white spaces. In “Breaking the Gender Binary in Fashion: Past to Present”, Sarah Llewellyn uncovers how fashion has been employed to transcend gender binaries. Mehek Boparai addresses how artists such as Beyoncé and Donald Glover deliberately use music videos to illuminate social messages of race in America.

The photoshoots that appear in this publication reflect the concept of exploring underlying messages through imagery. “Not Your Fantasy” examines combatting the fetishization of Asian women through reclaiming identity.

“Dreams at Dawn” explores the notion of how we often get lost in daydreams to escape from our realities. “Majestic Melanin” conveys the concept that black beauty is a multifaceted blend of shades, textures and identities. And finally, “Blurred Boundaries” delves into the topic of androgyny.

Overall, I aspire to form a progressive dialogue that considers the various intersections between fashion, politics, culture and identity. As you flip through the pages of this glossy magazine, I hope this stunning collection of articles and images encourages you to gain a more in-depth understanding of the subliminal messages within our society.

Much love,

Lauren Tappan Editor-in-Chief

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T H E WA L K

ONLINE H I G H L I G H T S T H I S FA L L

FASHION

CULTURE / HEALTH & BEAUTY

I Swapped Styles With My Friend for 3 Days

Mary Kay China: Bridging The Cultural Gap Between Two Very Different Consumer Cultures

BY VICKI LI

BY LANA SALLOUM

FASHION / CULTURE

Greenwashing in Fashion

HEALTH & BEAUTY / PENN

Dior’s SS20 Ready-to-Wear Show exemplifies faux environmentalism.

Say Hello To a New ‘Heyday’ of Skincare

BY EMMA VAN ZANDT

How two Penn grads are “taking the facial out of the spa” with their revolutionary skincare company.

BY BEBE HODGES

FASHION / FASHION INSPIRATION

BEAUTY TIPS / HEALTH & BEAUTY

It’s 2019, the Year of the…Comeback?

Monolid Makeup Looks

BY ANUSHREE ANEJA

BY ASTRID JIN

FASHION / FASHION INSPIRATION

CULTURE / MUSIC

Philly Fashion Week: Luxe Streetwear Show

PASS THE AUX: Best Songs of 2019 (so far)

Forget what you thought you knew about streetwear

Weyes Blood, Lana Del Rey, Bon Iver, and more!

BY KATHERINE LARSON

BY KYLE WHITING

CATCH UP ON THE LATEST —

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thewalkmag.com

@thewalkmag

/thewalkmagazine

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Directed and styled by Lauren Tappan, Davery Joso, Natalia Rommen. Styled by Sam Braffman, Annie Ma, Paola Nasr, Bo Ku, Egret Jin, Megha Raman, Amy Win, Jen Ahn, Akhil Vaidya. Makeup by Lucy Jung, Nicole Ng, Emily Yao, Anna Naggar, Emily Yang, Giovanna Sena. Modeled by Elisa Xu, Hope Cho. Photographed by Sharon Kuo, Julia Deng, Shinyoung Hailey Noh, Gracelynn Wan.

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the subliminal within us For The Subliminal Issue, The WALK aims to highlight the unseen manifestations of our identities. Quite often we feel that we know somebody just by taking a first glance—yet every sly look hints at an untold narrative, and every shift of the gaze teases a truth waiting to be unearthed.

Here are a few snippets of these hidden stories from the Penn community.

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In America, I am neither Chinese enough nor American enough. In China, I am still a minority, speaking a dying language pushed out by the words of a majority. You find my language in Hong Kong, yet I am looked down upon by Hong Kongers for my roots are in the mainland.

No matter where I go, my presence is an anomaly, a separate category looked down upon for being different. I can't find others like me; I am a child of both the ocean and the land split between identities.

Emily, C’22.

I felt so disconnected with my Indian identity growing up that I chose to play with dolls that had white skin and earrings rather than dolls with brown skin, because the former was how I truly once saw myself.

anonymous, E’20.

As someone who is Jamaican, it is good to see that there is a club for us to come together and speak in our own languages. However, since I am also Panamanian, it is disheartening to hear that there is no place where I can learn about my heritage and try to immerse myself into another part of my culture.

anonymous, C’22.

I've oftentimes heard the fetishization of Asian women be justified by referring to it as a simple preference. Some men have defined me with stereotypical expectations, most of which I don't even identify with.

Hope, C’22.

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End Calling Out Cancel Culture

By Eliana Waxman

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ou see an Instagram post, you double tap or move on. You spot a Tinder profile, you swipe left or right. You hear a political candidate… now what?

With contemporary media constantly evolving to be faster and more instinctual, our snap judgments carry over into our daily lives when we make decisions. The phenomenon has become so prominent that it even has a name: cancel culture. Yet it’s important to distinguish between snap judgments and cancel culture, and recognize the danger of when they mix together.

Where do snap judgments come from? How do we make them? And, most importantly, are they right? According to neuroscience research, not only are snap judgments instinctual, but they’re generally on target, particularly when it comes to trusting people. The amygdala, or the part of the brain associated with emotion, lights up instantly to decide an individual’s or concept’s trustworthiness.

When it comes to judging faces, people’s first impressions generally tend to be more accurate than when they think through their responses.

When it comes to cancel culture, though, quick negative assessments of ideas deem an individual invaild. It’s important to acknowledge, however, that the term “cancel culture” typically applies only to those in positions of power. Why is this? Writer Sarah Hagi pointed out in a recent op-ed that perhaps the term is used to delegitimize any criticism we might be giving to these powerful people.

Plus, eventually, those who are cancelled tend to resurface.

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As Ta-Nehisi Coates wrote in the New York Times, “all cancellations are not created equal.” An individual charged with sexual assault might face different repercussions as a dug-up, ten-year-old, offensive tweet. It’s not just the act itself that makes a difference in one’s level of “cancelledness”; it boils down to our prejudices.

All of this is important to consider as we make decisions regarding who we trust in our daily lives when consuming media. It’s especially important to note when making decisions about candidates. Do we immediately trust a candidate based on appearance? Unfortunately, the answer is yes.

And to make matters more complex, when a candidate who we already deem less trustworthy commits a negatively perceived action, we are more likely to hold that person accountable, therefore making them more “cancelled.” Attraction biases our initial opinions, leading to more dismissiveness in those we deem initially trustworthy.

This therefore leads us to question whether we are qualified to draw the line between good and bad, ethical or not, cancelled or clean. If modern day media primes us to have subconscious (or entirely conscious) fears and biases against those of a particular race, gender, religion, or sexual orientation, then we automatically will associate those within those categories to be less trustworthy in our minds.

For example, black Americans are overly represented as perpetrators of crime on national media platforms. Tests such as the infamous Implicit Association Test (IAT) were

It IMAGE COURTESY OF WELL AND GOOD.

created to illustrate people’s biases.

Yet as it turns out, researchers now hypothesize that they only truly illustrate the associations that people make with certain backgrounds based on stereotypes they have been exposed to, not necessarily how they really feel about various attributes. Therefore, with the overrepresentation of black Americans, particularly male, as criminals in new media, we as a society are more likely to associate black faces as stereotypically less trustworthy, despite the fact that this is completely without merit. And with that association comes a decreased likeliness of automatic trust, leading to actual wrongdoings often being extremified. This applies across multiple races, religions, and sexual orientations.

Obviously, this doesn’t excuse us from discriminiatory behaviors, nor does it excuse us from horrendous actions like sexual assault or using a racial slur. Nevertheless, there are two important negatives of cancel culture to dis-

tinguish. The first is that the decision making that goes into cancelling someone or something isn’t as black and white as it seems. New media is often a propellor of the cancel culture that victimizes its own stars.

The second is that by using the term “cancel culture,” we make inexcusable actions excusable, deeming it as just a trend or a phase. As we chug our way through this tumultuous time in politics and media culture, it’s important to remember the nuances in the way we make snap judgments and ‘cancel’ others. The cycle can be vicious - the media can influence our first impressions of people which then alter our perceptions of media persona.

Yet as long as you critically and rationally analyze why you believe what you believe, our society can continue to evolve to be more inclusive and less toxic. Because as we know, going with your gut without the influence of media is usually right.

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N E UTRAL SPARK LE

Founded in 2019, Neutral Sparkle is a Philadelphia based, eco-friendly fashion line that seeks to use sustainable fabrics, while minimizing fabric waste. Fashion designer and artistic polymath Jenny Lee Maas and musician Nicholas Krolak created the line in order to correct some of the environmentally devastating practices of the fashion industry, create extremely comfortable garments, and showcase unique aesthetics. Neutral Sparkle’s ethos is to make the fashion industry more sustainable and the sustainability movement more fashionable, and the line currently has two collections that exemplify their dedication to improving what’s already out there. ‘Upcycle’ uses scraps and dead stock to create one-of-a kind hoodies, while ‘Friendly Fibers’ uses sustainable fabrics such as bamboo, hemp, and eucalyptus to create breathable and comfortable active wear free of acrylic fibers.

www.neutralsparkle.com Instagram @neutral_sparkle T H E WA L K M A G A Z I N E FA L L 20

2019

GRECOTEL HOTELS & RESORTS

on the famous Psarou beach, Mykonos

INTRODUCING

MYKONOS BLU YOUR VERY OWN WHITE RESORT ON GREECE’S VERY OWN WHITE ISLE. BOTH ON A VERY BLUE BLUE SEA. THE SUBLIMINAL ISSUE

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dreams at dawn

Directed and styled by Lauren Tappan, Davery Joso, Natalia Rommen. Styled by Ania Swider, Amy Win, Sydney Schwartz, Ellen Manford, Egret Jin, Megha Raman, Jen Ahn, Akhil Vaidya. Makeup

by Giovanna Sena. Modeled by Hannah Bernstein. Photographed

by Sudeep Solanki Bhargava, Shirley Yang, Intel Chen, Adrianna Brusie.

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thewalkmag

CAN SAVE US FROM SOCIAL MEDIA? Influencer Chaz Smith (C’17) and Instagram user Peter Fera (C’22) weigh in on whether humor on social can remediate the platform’s otherwise negative effects.

BY BEBE HODGES

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ack in the early years of high school, my big-city-dwelling, “inthe-know” cousin introduced me to the world of finstas, or ‘fake’ Instagram profiles. Even though I was almost nine-hundred miles away, I could read hilarious stories of her father placing her in embarrassing situations, laugh at silly, unflattering selfies, and watch countless home-made Triller videos by scrolling through her finsta profile. Her fake Instagram offered much-needed respite from the standard profile, filled with carefully curated images and insta-worthy activities.

It has long been established that social media can have negative effects on users’ psyches. Many of us close our apps after hour-plus scrolling binges, disheartened that others’ lives are more exciting, more beautiful, more perfect than our own. And even though we are

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told countless times that nobody’s life is actually that perfect, it can still be difficult to resist the subconscious negative thoughts that social media may surface.

With this in mind, I think back to the finsta. Can these memefilled, ugly-selfie-laden accounts help sublimate the detrimental impact social media inflicts? To answer this question, I interviewed YouTube personality Chaz Smith (C’17) and Instagram meme-page creator Peter Fera (C’22). Both Smith and Fera perceive their social media accounts as finstas because of their humorous content and don’t-take-yourself-too-seriously attitudes; however, with over 650k and 100k Instagram followers respectively, Smith and Fera face even greater pressure and expectations than the ordinary finsta user.

In 2013, Smith became famous for his the viral “watermelon in-

side of a watermelon” Vine. But before this success, Smith had created a YouTube channel as a forum to discuss sensitive, important topics “that people tend to shy away from.” His activity on both platforms reflects his ultimate goal on social media: “to be a light and a source of joy for people and an example to them through comedy and conversation.” While Smith continues to post hilarious videos on Youtube and silly Instagram selfies, he is also dedicated to increasing awareness of important topics like sexual assault.

Fera, however, created his account in 2018 solely for the purpose of humor: “I created my account because I realized that I had been spending so much time scrolling through meme pages on Instagram and sending funny posts to my friends when I could just do all of it myself with my own page. I set out originally with the intent to only post comical stuff for my friends, but once I started to gain a following, I grew more serious about cultivating my account.” He posts about the “comical misfortunes of other people on the twittersphere,” via screenshots of tweets, in addition to his own personal mishaps. While the two users have different intentions, they both utilize humor in a unique way on social media.

So do their finstas help remediate the pressure for perfection that is associated with social media? After all, the expectation of a finsta is to be humorously imperfect.

At least for these influencers, not really: with great following comes great responsibility. Smith and Fera both said that they are careful when choosing what they post because they recognize the potential impact a post may have on their followers. Smith also cited external pressures as a con of social media: “I tend to care about people’s opinions whose opinions don’t really matter to me. Like you should care about the opinions of people who are close to you, but [...] the random 14-year-old who commented on some video shouldn’t be getting under my skin at all.”

He also added the pressure to create content that is both on-time and ‘right.’ “I think the biggest pressure I put on myself is time-frames and schedules and feeling like ‘I need to get this done now’ and it has to be this way or whatever.” Smith said. “I do want to make great, excellent work and put it out consistently but sometimes I can put too much pressure on myself to […] perform or produce rather than let it be just for fun.”

While these influencers face pressure from having a larger following, the ordinary finsta-user who posts content on a private profile may find a fake Instagram to be more liberating. Private finstas can provide an escape from monitoring by employers or the scrutiny of some followers. While the pressure to post the “perfect” image on one’s real Instagram may result in hours of toggling through different filters, painstakingly formulating a just-witty-enough caption and waiting until the “right time” to post in order to maximize likes, a finsta post takes a few minutes. Post whatever you want, caption it whatever you want, who cares? After all, most of your followers are close friends, their follow requests accepted for the sole basis of no judgement. Through finstas, we can seemingly express our true selves and no longer hide behind the façade of perfection that our “rinstas” (“real” Instagram profiles) display.

As for finsta followers, access to these kinds of profiles may pro-

vide a dose of reality in social media. People who follow these parody profiles are reminded that other’s lives are also imperfect. They are also provided a space to express their own personal hardships and imperfections. Both Smith and Fera cite the ability to connect with and help people who are negatively impacted by social media with their content on the very same platforms. “I have had many people “DM” me asking for support in the form of conversation, giving me support whenever I post anything about my own life, or just commenting that they relate heavily to my experiences,” Fera said.

While there are certainly benefits of finstas, like a sense of freedom for private users or a safe-space for their followers, there are also limits to how successful a finsta is at remediating all the negative effects of social media. After all, if most finstas are private and only accept close friends to follow, these finstas are most likely excluding followers that are less likely to be aware of how imperfect that person’s life actually is. Furthermore, for the user, finstas don’t really solve the pressure to be perfect but simply act as a temporary fix.

When asked if finsta profiles have the potential to increase transparency, Smith was doubtful. “I don’t think the answer is within the profile itself, I think it’s [...] more people’s perception of how social media should be used, and more importantly, just how comfortable they are with themselves,” Smith said. “A lot of people are afraid to be transparent and vulnerable […because] transparency and vulnerability requires letting people know you may be […] hurting or not perfect and that can lead to two different things: the person [you tell] may pour salt on your wound or they can help to heal. But if your fear of [...] getting exposed and hurt exceeds your hope that people could be there to support and help you heal, then you’re not going to share.”

So what is the solution? How do we fix Instagram to increase greater transparency and remediate the negative effects associated with the expectation to be perfect? As followers, we need to support influencers who are transparent and willing to discuss the ups-anddowns of their lives. As users, we need to be more sincere on Instagram, not just on our finstas but our real profiles as well. We as individuals need to be open and to embrace the #MakeInstagramCasualAgain movement, which encourages the filter-free, silly mirror pics or mundane photos taken at grocery stores. There is nothing wrong with posting a gorgeous photo of yourself or adding a filter to give your photo an extra edge. But it is also important to be transparent so that people can see the real you, who is beautiful both inside and outside.

Finally, we need to be more comfortable with being vulnerable.

This will not only benefit ourselves but also those with whom we interact. “Whenever I share a post that’s vulnerable I feel confident in knowing that others could be going through the same thing and that gives them the confidence and hope to open up to others as well, even if it’s just to one,” Smith said. “So I know I’m helping others when I do that. Not everybody feels that way, but I think more people should.”

Special thanks to Chaz Smith and Peter Fera. Check out Chaz Smith onYoutube, Instagram, and Tik-Tok. Stay tuned to for an exciting new project Chaz will release on Youtube in 2020.

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Out

BY TYLER LAWSON.

G

rowing up in predominantly white suburbs sends black children all types of messages of who they should be from the day they start school to the day they graduate. If they are placed in advanced classes, they might occasionally hear comments associated with their intelligence and skin color. If they hang out with friends who are a part of the majority race, they might occasionally hear that they’re trying to be the “token” black friend. These microaggressions aggressively insinuates there is a limit to the social and academic goals black students can have.

Peers’ and teachers’ expectations of the role a black student should play at school, which are guided largely by misconceptions, not only isolates the student but forces them to choose between what they can achieve and what they’re told they can achieve. A study conducted by the American Educational Research Association’s peer-reviewed journal published in 2016 found that black students are 66% less likely to be recommended for gifted-and-talented programs than white students.

Thus, there is the hard-hitting reality that they need to work twice as hard just to seem as equally competent as their white peers.

Further, a predominantly white, suburban school district, Upper Dublin, just thirty minutes away from the University of Pennsylvania settled a lawsuit with an African American parent organi-

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of

zation, CAAPS. The organization investigated and discovered that the school was disproportionately disciplining black students and intentionally placing them on lower academic tracks. These actions led to 44.6 percent of out-of-school suspensions being issued to black students who made just 7.3 percent of the district’s student body during the 20142015 year (thereporteronline.com). With similar cases like these occurring in suburban school districts across the country, black students are institutionally put at a social and academic disadvantage.

Thus, to even try to reach their fullest potential in school, they have to first prove that they’re worth the effort. And when these students do surpass their peer’s expectations and are accepted by competitive schools, there exists doubts about the black student’s ability to have achieved such a feat.

“I did hear a couple of petty comments about me getting into Penn because of affirmative action,” Desteni Rivers C’20 says about her experience of being accepted to Penn when she was a senior in high school. “A lot of people assumed I was going to Penn State.”

Aside from the institutionalized attacks, a familiar yet little known anxiety for black students growing up in white suburban schools has always been their hair. Black girls know all too well the feeling of being asked if someone can touch their braided locks or thick curls by curious students.

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u o c T h And black boys face a constant prejudice because of any natural fro or cornrows they choose to don.

Despite the seemingly obvious degradation, exoticization, and disregard for personal privacy these acts show, several black students still face these microaggressions daily.

Not only are their various hairstyles prodded, they’re also questioned for their appropriateness in the school setting because of misconceptions that taught them as “unruly” or “unprofessional”.

Because white institutions are so unfamiliar with black culture, they oftentimes fail to recognize why these natural hairstyles should not be questioned nor judged by those who don’t wear them. A prime example of this ignorance was the viral story of a high school male wrestler who was forced to have his dreadlocks cut in order to compete in a match (nbcnews.com).

Nevertheless, black students in these settings consistently find themselves in a position of choosing between being themselves and being society’s biased perception of presentable. Kyler Mintah E’20 said that growing up black in a predominantly white school in South Africa meant that, “Black male students were expected to have very short or near buzz-cut hair while the same rules were not applied to students of other ethnicities...I certainly pushed hair length boundaries throughout school and continue to do so in my adult life. I feel like

there was a versatility to my hair that was lost on me in my younger years. I have begun to discover it recently.” So, when schools tell black students to redefine their looks to fit the mold, many start the daunting journey of black hair discovery post high school, an unfairly late start by any standard.

Yet despite all the adversity, alienation, and complications, the best part of this rollercoaster experience is finding the safe niche in other black students at school who also know all too well what it’s like to be asked to speak on behalf of their entire race for a discussion in class. Finding these core group of students who understand the nuances of being a minority in a majority setting is perhaps just as important as choosing the right classes to take. Because at the end of the day, if they remember nothing else from their childhood experiences, they’re remember that strong feeling of unity as others are able to back them up when they explain to a kid they barely talk to why they can’t pet their newly styled hair. The school they attend starts to feel a little more like their school when they find this tribe of their own, a united and determined force to ward off the microaggressions, dispute the stereotypes, and defy the odds.

This is growing up black in white suburbia.

They shouldn’t have to fight to find their place in the world. But when they do, they make it anything but subliminal.

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Directed and styled by Lauren Tappan, Davery Joso, Natalia Rommen. Styled by Sam Braffma,Paolo Nasr, Sydney Schwartz, Ellen Manford, Jen Ahn, Akhil Vaidya. Makeup by Sciaska Ulysse, Anna Naggar, Emily yao, Giovanna Sena. Modeled by Vida Lugo, Isami McCowan, Jaia Gillette, Samelle Arhin, Kohl Hollinquest, Kyle Oden, Nate Morris, Jared Smith. Photographed by Teresa Xie, Sarah Yoon, Preston Heard, Erica Xin, Adrianna Brusie.

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Music Videos Are the New Social Commentary

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A look at how the art form is being used to fill in the narratives left untold by history.

BY MEHEK BOPARAI. ILLUSTRATION BY JESSI OLARSCH.

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he perpetuation of political beliefs is not foreign to the world of popular culture. The ability to share ideas on a platform where virtually everyone is watching, listening, discussing it is a political statement unto itself. When today’s tense sociopolitical climate and ease of access to art are combined, the impact of a single artistic statement can go quite far.

This can be seen with the latest stream of music videos that have permeated contemporary conversation. Artists such as Beyonce and FKA Twigs carefully plan out each detail of their video as a part of a larger message; their artistic productions have become pieces of social commentary, and through the use of visuals and sound they are able to relay a statement awaiting deconstruction. Has the music video become an avenue for social and political commentary beyond its identity as an art form?

A canonical example of this phenomenon stems from “This is America” by Donald Glover, the artist behind Childish Gambino.

When examining the lyrics themselves, there’s a stark call of attention to the contemporary political climate and American race relations and hustle culture. “Yeah, yeah, this is guerilla, woo / Yeah, yeah, I’ma go get the bag” he sings, while translating this balance in the simple versus bass–heavy production. The video itself, released in May of 2018, garnered over 600 million views

for its violence, embedded in scenes of Glover aggressively dancing and animatedly singing. He shoots a masked man a minute in, whose identity became known as Trayvon Martin’s father following the release of the project. There is no subtlety in any of his actions, swaying along with the singing choir before shooting them with an automatic rifle—a reference to the Charleston church massacre in 2015.

By attaching this imagery to the song, it not only heightens the identity the song already occupies but allows it to take on some sort of self awareness. Meaning, Glover feels called to express his carefully-articulated opinions on American cultural phenomena—to the unlawful deaths, to stream of Twitter hashtags and what the romantic idea of the American dream truly entails. And he isn’t alone.

Beyonce and Jay–Z’s “APESHIT” video, shot at the Louvre, places the apex of Western culture and highart into the background. The priceless artwork in the museum features little to no appearances of people of color but rather displays a narrative of their exploitation throughout the capitalist canon. The only untainted work presented in the video is Marie Benoist’s Portrait d’une négresse, a painting from the early 1800s following the brief emancipation of French slaves. Centering the project around the piece calls the audience’s attention not only to the piece itself but the lack of others like it, the lack of the black narrative amongst the trenches of wealth and power. Not to mention, the actual act itself of renting out the Louvre is a reclamation of status, being able to command an entire pool of prized possessions that represent the crux of colonialism. By transforming the traditional trope of white wealth as a black couple with apparent success, they aim to rework the cracks of history where people of color have been left behind or taken for advantage.

Music videos in the hip-hop and rap genre have ascertained a role of truth-deliverance, one that extends beyond what lyrics and production can accomplish. The creation of these social messages is a layered process, executed with a precision that deserves attention.

While many forms of art, such as those displayed in the Louvre, have been associated with high brow culture and has been exclusively designed for a particular audience, the ease of access to a music video enables the artist to reach a virtually infinite crowd.

By slashing through the storyline of white success in a manner that is not overtly political or tinged with the common aspects of a protest, it creates a shared sense of ownership amongst all who participate in it; amongst the tens of millions of viewers. Many of these viewers may not have been exposed to various perspectives of violence in America against people of color, or about the exclusion of their narratives in the historical canon.

Through the work of these artists to vocalize their opinions and call attention to these injustices in a carefully-crafted handful of minutes, the significance of diversity in America and the individual story is becoming more and more prominent.

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BREAKING the Gender Binary in Fashion PAST & PRESENT

BY SARAH LLEWELLYN. ILLUSTRATION BY MICHELLE MA.

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oys wear blue, and girls wear pink.

Perhaps the most obvious cultural construction of the gender binary, this outdated rule has been disproven time and time again. However, the gender binary in fashion runs deeper than color, and this dichotomy has been perpetuated for centuries. From the Renaissance to World War I, dresses and skirts trailed down to the floor and corsets cinched women’s waists.

The mainstays of men’s fashion, on the other hand, were and continue to be pants, shirts, and suits.

Today, the difference between men’s and women’s

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clothing is much less jarring. Women have embraced wearing pants, and some men have ventured to wear skirts and dresses (praise Billy Porter and Marc Jacobs!).

Many brands such as Thom Browne, Gucci, and Maison Margiela showcase unisex clothing, which is becoming more prevalent in modern fashion. But we shouldn’t take this for granted––let’s honor those revolutionaries who have challenged gender stereotypes, one article of clothing at a time. Here are a few key moments in fashion history that set the stage for gender fluidity in our modern sartorial world.

The first woman to wear pants.

In a time when leggings were not considered a suitable garment at all, much less a debatable form of pants, women only wore dresses and skirts. The women’s rights advocate Elizabeth Smith Miller is often credited as the first woman to popularize pants in the 1850s. Around this time, the fight for women’s suffrage started picking up, and women began to challenge not only their limited political power, but their constricting clothing as well. However, it seems as though the switch to pants was too drastic for Victorian society–– anti-crossdressing laws meant that women risked be-

ing arrested for wearing men’s clothing. So, it wasn’t until the 20th century that women began to fully embrace pants as a respectable clothing option. Moving into the ‘20s and ‘30s, trousers were worn by women during athletic activities because skirts and dresses obviously weren’t practical. Finally, World War II helped pants for women become mainstream; as women took over men’s jobs, they adopted their clothing as well. While it would be rare to see a woman in pants only a century ago, today there are many women’s garment of choice.

The power suit, transformed.

Old Hollywood actress Marlene Dietrich brought the female tuxedo to the silver screen in the 1930 film Morocco. Her character, a cabaret dancer, dons a masculine black tuxedo and top hat for one of her acts. If women at the time were concerned that they would not look elegant in suits, they would have been proven completely wrong––Dietrich absolutely stunned. Confirming the iconic status of this outfit, she then wore a tuxedo to the premiere of the movie The Sign of the Cross in 1932.

The suit added an undeniable air of power to her attitude, selling the idea of this garment to women all across the country. But by this time, menswear had yet

to make it to the mainstream in women’s fashion.

In 1966, designer Yves Saint Laurent showcased a controversial look in his couture collection. The outfit in question––named “Le Smoking” by Saint Laurent himself––was a sleek black tuxedo for women.

This suit presented a stark, androgynous contrast to the feminine evening wear of the time, which mainly consisted of long gowns in candy colors and embellishments. Claiming its place on the runway, the “Le Smoking” suit introduced menswear to women’s high fashion. Not just for haute couture, the power suit is now an everyday staple for working women across the globe.

Glam rock & masculinity in music.

While women have adopted many aspects of men’s fashion over the years, it is not as common to see men do the reverse. It wasn’t until the 1960s and ‘70s that feminine styles started appearing in men’s fashion.

The outrageous styles of glam rock, a subgenre of rock music that emerged in the ‘70s, included platform boots, bright colors, glitter, and makeup, worn by male and female musicians alike.

David Bowie’s Ziggy Stardust era is perhaps the most famous example of glam rock aesthetics. This androgyny extended into the ‘80s rock scene, with hair metal bands continuing to be popular. And of course we can’t forget Prince. Never one to shy away from eyeliner or ruffles, the legendary musician was famous for his androgynous and unabashedly glamorous style.

Thanks to these iconic artists, men too could be in-

spired to incorporate femininity into their wardrobes.

While the gender binary in fashion hasn’t been completely obliterated––it may be awhile before we see men confidently wearing skirts on the daily––it has come a long way from where it began. Although women wearing pants and suits may seem normal today, gaining equality in clothing choice was an important advancement in the fight for gender equality as a whole.

In the same way, glam rock and its successors were important because they allowed men to embrace femininity, breaking down barriers for people to begin experimenting with their own gender expression.

While we now know that anyone can wear pink, only time will tell what gender conventions in fashion will soon be obsolete.

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Celebrating 20 Years of Innovation

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BLURRED BOUNDARIES

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Directed and styled by Lauren Tappan, Davery Joso, Natalia Rommen. Styled by Sam Braffman, Paolo Nasr, Bo Ku, Ellen Manford, Jen Ahn, Akhil Vaidya. Makeup by Giovanna Sena, Emily Yao. Modeled by Matt Dougherty, Janelle Schneider. Photographed by Sarah Yoon, Nathaly Delapaz, Intel Chen, Erica Xin. THE SUBLIMINAL ISSUE

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POWER to the PANTSUIT No need to debate; it’s the time of pantsuits in politics.

Here’s how it’s only going to get better from here.

BY EMILY LIU.

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ou’ve just been elected President of the United States. Quick, what are you wearing to your inaugural address? What if you were a superhero? A newlyelected CEO of a major corporation? For most people, the first thing that comes to mind is some iteration of “the suit”, whether a formal three-piece suit for men or a slim pantsuit for women. I mean, even a superhero suit is a “suit”. But why is the suit the first thing that comes to mind?

A suit turns heads, whether it’s the wrinkle-free slacks or the crisp button-down shirt. We’re all indescribably drawn to someone put-together. Every clean seam screams sophistication, power, confidence. Why else would people say that “a man in a suit is sexy?” But for the ladies, pants are something we take for granted. Last year, politics underwent many crucial changes; more women entered Congress than any of the previous years. With them came a lot more pantsuits than the year before. Perhaps we have prominent politicians like Hillary Clinton and Elizabeth Warren to thank for the contemporary culture of embracing pants in politics.

We must remember that America spent generations with little to no female representation in politics. Men in suits made all the decisions while society expected women in skirts to stay at home raising children. Congresswomen weren’t even allowed to wear pantsuits in session until 1993.

The restriction involved with skirts made it hard for the average woman to catch up to her male counterpart. Moving too much meant risk of exposure. Slacks, however, were protective, allowing for one to take long strides and “to wear the pants” in this political tug-of-war between the genders, both physically and metaphorically.

Perhaps then the obsession with suits makes sense. In an environment where major newspaper outlets photograph and scrutinize the outfits of female political candidates much more often than their male opponents, the pantsuit is perhaps the answer to a desire for feel equally powerful. For generations, the masculine nature of the suit has subliminal

implications of credibility, giving men the power to easily create change. But to feminize something supposedly masculine is to challenge power dynamics and overcome gender roles, to raise the self-esteem and morale of all. The pantsuit is fighting a system that has only accepted the suit and tie for generations. It’s a power move.

It’s the presence of power in the mental and social sphere that calls for change in our political and professional climate.

Usually, it’s not that the suit gives someone tangible power.

Instead, the power that comes with the suit is internal—the power of confidence. We all hold our heads a little higher, strive a little farther, and smile a little wider when we’re feeling well-dressed. It’s not about gender; it’s about feeling like you suit the clothes you wear.

It should be noted, however, that power is no longer concentrated in one outfit. “Professional wear” previously had a strict guideline which fully embraced the suit trend.

Now, however, workplaces are starting to allow for more flexibility. You can be powerful in a pencil skirt or a pair of skinny jeans without feeling underdressed. Your style comes to represent your values and beliefs, allowing for a little bit of personality to shine in an otherwise sea of gray suits and muted colors.

This reflects an ever changing gender dynamic in our society. The relaxing of a formerly rigid professional and political dress code is, in its own way, allowing for all genders to “wear the pants,” to own their presence and be as confident and powerful in whatever environment they’re in. Suits, which are usually identified as masculine, have now become androgynous—neither overtly masculine nor feminine and wearable for all. Maybe in ten years, professional attire will be even more different. Who’s to say that the future won’t be full of hoodies and sweatpants?

I’ll leave it off here with a little lesson. For everyone reading this, power is all about confidence, so start wearing your clothes like it’s your strong suit.

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OUT: PRADA For decades luxury and designer goods have been the standard for status symbols. The new status symbols have subtler signifiers of cultural capital.

BY ALEX NICHOLS. ILLUSTRATION BY GRACELYNN WAN.

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glimmering silver belt buckle in the shape of an iconic “H”. A red, white and blue patch emblazoned with the words, “CANADA GOOSE” on the shoulder of a bulky parka. A cocoa brown tote bag stamped with an interlocking “LV”, slung over the shoulder of someone far outside your tax bracket. These items stretch far beyond the utilitarian, but still are among the most conspicuous markers of class and social status. Items such as the Canada Goose coat were not chosen by the wearer not simply (or at least, not exclusively) because of their reputation of being the warmest parka available—instead, they serve as a signal of the wearer’s wealth. Consider, on the other hand, Whole Foods paper bags, or yoga mats. While not immediate flashy markers of class, these inconspicuous markers of class are significantly more expensive in the long term. As luxury material goods have become more accessible to those outside the upper echelons of society, ostentatious status symbols are largely being replaced by more subliminal markers of class—ones that widen the divide between the “one percenters” and the “rest”.

For centuries, material goods have dominated the status symbol realm. From BMWs to Rolex watches, the most visual displays of wealth are material goods that are generally cost-prohibitive to the rest of society. However, as material goods have become increasingly accessible to the masses, through mass production and counterfeits, luxury products have lost some of their social capital.

Rather, the elite have turned to more subtle forms of consumption. According to US Consumer Expenditure Survey data, middle class Americans continue to spend the majority of their incomes on material goods, even more so than the upper class. Things like retirement savings, insurance, and education have grown more expensive, and as the upper class seeks to further and protect its position, their spending in these sectors has increased accordingly.

In fact, a Harvard and University of British Columbia study

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found that being placed in a low-income situation hinders your long-term economic decision making. According to their research, placing individuals in situations of economic scarcity hinders long-term decision making, as scarcity instead encourages focus on immediate pressing needs at the expense of longer-term economic health. These findings suggest that being placed in a situation of scarcity forces you to make short term decisions that may actually be deleterious in the long term, whereas those who are wealthy or fiscally stable are able to make decisions that further their long-term economic success.

Recently, conscious consumption has dominated the spending of the upper class. Conscious consumption is the increased awareness of the impact of purchasing decisions on the environment and health—for example, justifying the purchase of an expensive car because it’s electric.

Shelling out the additional dollars for organic produce is another example of conscious consumption mindset that dominates the upper class, especially given that organic produce can cost up to 50% more than standard produce.

The consumption of organic produce contributes to the conscious mindset in that it generally lacks the chemicals in mainstream produce, and ties into the idea of paying extra for possible long-term health benefits. Similarly, spending on education is another example of conscious consumerism that has skyrocketed in recent years. In this era of rising education costs, the wealthiest ten percent of the population have tripled their spending on education while education spending of the middle class has remained stagnant. The outcomes of this differential spending become especially evident when we consider children born into the top one percent are 77% more likely to go to an Ivy League than children born into families outside the top one percent, again widening the divide between the wealthiest Americans and the rest.

IN: PRODUCE

(organic!)

Another factor that highlights the impact of conscious consumption is the direct benefit it affords its consumer.

Unlike traditional status symbols, where spending copious amounts of money on a Gucci belt fails to hold up your pants any better, nouveau status symbols, such as a New Yorker tote or SoulCycle hoodie, may represent things that serve, on the surface level, to improve the life or conscience of the consumer. However, the exclusive accessibility of these items to the wealthy also indirectly deepens the inequality gap. These physical manifestations of cultural capital—expensive workout classes, organic produce, music lessons—influence and enrich the wealthy in ways designer status symbols cannot.

The issues arise not in the spending itself, which arguably does have intrinsic value both on a societal and individual level. Rather, it is the inconspicuous nature of this type of consumption that can be problematic. These activities and manifestations of cultural capital set the stage for the success of the next generation, in a way that those who are less privileged cannot. Because wealth is increasingly manifesting itself in subliminal structures, there arises a sort of ignorance to the fact that not everyone can engage in activities that advance one’s cultural capital in that manner.

This ignorance creates a narrative in which the dominant discourse surrounding sustainability focuses on individual blame for lack of conscious consumerism. This often results in placing blame unto those with the least economic means to engage in traditionally sustainable activities. Systemic change is the best way forward for a more equitable society in which all parties are better off, rather than allowing the low-income to fall further behind under the guise of individual blame.

Talking about wealth and inequality is uncomfortable, but necessary. Recognizing the various factors that play into the inequality gap, as innocuous as they may be, is the first step in effecting change.

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The Shop The Shop The Shop The Walk had a chance to interview the founder of a Philadelphia based 90's kid dream store. Here's what Geoff Degnan has to say about Fishtown's very own hidden gem: The Shop.

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What’s your background?

My background I guess is really being a very active kid I always loved running around the streets of philly because that definitely taught me a lot of my street smarts. Playing sports definitely shaped me a lot I played soccer most of my life and the main reason I chose my high school. I really wanted to play pro but I also always sketched jerseys and cleats since i was young so that influenced my love for clothes and different styles. It’s weird though being from a place where people are very close-minded and only work union jobs from 9-5 it kind of forces you to think outside of the box when you don’t want to do that.

What does your work aim to say?

That you can definitely figure it out because there has been many times I’ve questioned myself but I just keep trying and eventually it all worked out. Believe in everybody around you also “the dream is the team and the team is the dream.”

Shoutout to Jahmir Brown.

Who/what are your biggest influences?

Definitely my Aunt Terri who passed away right after I graduated high school she is the influence behind most of the things i’ve done in my life. She was always a giver never asking always giving so when she passed i realized I had to create something bigger than myself.

She inspired me to be myself, always told me to do what I want but always be nice to people and respect others. She made me clean up blockbusters parking lot when I was a kid for littering thats how much she cared about what she believed in. As far as clothes a lot of athletes and musicians. Ronaldinho was the reason I started to sketch

jerseys and eventually clothing just like Lil Wayne and Chad Muska gave me a lot of my style input as a kid. Definitely my aunt, sports, and rap music.

What inspired you to open The Shop?

I always wanted to be my own boss so i always told myself I would. Believing in yourself is the main thing so honestly what inspired me was the desire to stay inspired because I search for it all the time and if you seek you shall find.

What is/was your goal in starting this company?

To create a community for like minded people in every subculture within The Shop. Having not only a place but a feeling of togetherness where you can learn, work & inspire others all over the closet of a kid in the 1990’s.

Why open your business in Philadelphia?

The city I was born and raised in & the city I love and admire. We have too much talent that is slept on and I really want to wake the world up when they think about us.

How would you define Philadelphia’s streetwear scene in a few words?

It’s choppy but we are working at it and thats all you can ask.

What are three fashion items/accessories you can’t live without?

Need myself a fitted cap, pair of nikes and cargo pants, can’t go wrong even a plain white T you gonna do alright for yourself.

What’s your motto?

GO BIG OR GO HOME! THINK BIGGER OR STOP PLAYINGYOURSELF!

Aside from The Shop, what are some of your other interests?

I love underdogs and anyone who has to make it from the mud. I love every single kid who rides there bike in streets of Philadelphia they are going to change this city and its so revolutionary to see the youth of this city keep me alive and trying to provide for others is definitely the only thing on my mind when I’m not at The Shop.

What are you looking most forward to in the upcoming year?

Working on an after school program and thats all I’m going to say!

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WANT MORE? thewalkmag.com • @thewalkmag The WALK Magazine Fall 2019 The Subliminal Issue Copyright © 2019 The WALK Magazine. No part of this publication may be altered or reproduced without the express written consent of The WALK Magazine. For all inquiries, please email thewalkmag@gmail.com. All rights reserved. TW/S19-100A

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