TIGERTRENDS
OCTOBER 2020
OCTOBER 2020
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M I S S I O N S TAT E M E N T
OCTOBER 2020
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TigerTrends showcases the best of fashion, art, and lifestyle on campus and beyond. We are committed to inclusion and diversity at every level of our organization and the collections we release. Every two months, we release a digital magazine curated from scratch by our talented team of editors, stylists, photographers, and journalists. In between issues, you can explore more of our journalists’ content on our website and our videographers’ work on our Youtube channel. From cozy to chic and the street to the classroom, TigerTrends shows how fashion, art, and lifestyle choices inspire Princeton students to feel their best. Everyone can fashion. We just put it in a book.
Sophia Wang ‘22 Co-Editor-in-Chief
Camille Reeves ‘23 Co-Editor-in-Chief
LETTER FROM THE CO-EDITORS IN CHIEF
Dear Readers, We’re back, baby! Wow. That feels so good to say. 2020 has been wild. The past few months have been utterly transformative for us. The entire world has shifted due to the global pandemic, a renewed push toward racial equality, and countless other events that have redefined everything. Nothing and nobody remains untouched. There’s no other words for it. Like you, we never imagined 2020 would be like this. We are all forever changed. We are immensely proud to announce that we have redefined TigerTrends. We are now a fashion, art, and lifestyle publication. We have expanded to include journalism and videography departments. We upload new articles every week on our website tigertrendsprinceton.com. We release a digital magazine every two months on the platform Issuu. All of these initiatives have redefined the limits of what our staff can achieve for our readers to enjoy. We are immensely grateful for our staff who have overcome the unimaginable challenges that 2020 has brought. It is impossible to overstate how incredibly hard this team has worked for us to be where we are at today. To our Exec team - thank you for your loyalty and leadership. To our Staff - thank you for your adaptability and dedication. To our Readers - thank you for your support as we embark on this journey anew. 2020 has been the most rollercoaster year in many of our lives. We lost so much and we have so many fights still unfinished, but there is brightness and hope too. We can’t forget that. Make no mistake, we will not accept defeat or division from any source of darkness. Each day we persist towards goodness, justice, and equality makes the world a better place. Thank you so much for tuning in to our debut magazine of this year. May it be a spark of joy for you to read just as it was for us to create.
Sophia and Camille
OCTOBER 2020
With Love,
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CO-EDITORS-IN-CHIEF Sophia Wang '22 & Camille Reeves '23 CREATIVE DIRECTOR Ashley To '22 VISUAL DIRECTOR Everett Shen '22 HEAD OF STYLING Nicolas Gregory '21 JOURNALIST HEADS Lisa John '22, Lulu Hao '23, Zlata Bobyr '23
EDITORS
PHOTOGRAPHERS
Angela Yang '21 April Dong '24 Ashley To '22 Grace Cuenca '22 Hannah Baynesan '22 Hannah To '22 Ioana Teodorescu '21 Ivy Lin '23 Jacqueline Xu '22 Jampel Dorjee '24 Jovan Aigbekaen '23 May Tieu '23 Omar Farah '23 Tara Shawa '22
Alexis Anglade '23 Everett Shen '22 Grace Wang '22 Kimberly Lu '22 Lola Constantino '23
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JOURNALISTS
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Alaina C. Joby '24 Camille Reeves '23 Eva Vesely '24 Evan Haley '24 Magnolia Wilkinson '24 Sal Kang '24 Yezekiel Williams '21
FRONT & BACK COVER Photographer: Everett Shen '22
STYLISTS Aishah Balogun '23 Baylee Cox '23 Leonela Serrano '22 Nicolas Gregory '21 Patrice McGivney '23 Uanne Change '24 Yuxin Shi '22
TIGERTRENDS SPOTLIGHT
Ever since I was a little girl, fashion has always been a huge part of my life, from dressing up and holding “fashion shows” in my living room to spending hours window shopping with my mom on the hunt for unique pieces. But growing up in a tiny town in suburban New Jersey, in the land of Lululemon leggings and Ugg moccasins, there wasn’t much opportunity to explore this love I had. TigerTrends was actually the first student group I joined when I got to Princeton since I really wanted to do more with fashion in college, and it has been one of the best choices I’ve made. TigerTrends has really let me experiment and find my own personal style and I have met so many sweet and genuine people with such unique styles. I have developed a love for styling and producing fashion content and I hope to be able to work in the industry in the future!
OCTOBER 2020
Lisa John '22 Head of Fashion and Beauty
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OCTOBER 2020
TA B L E O F
CONTENTS
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8-11
Indigo
12-15
On the Town
16-17
Expectation vs. Our New Reality
18-21
Mens Debilitata In Corpore Insano
22-27
She Wears the Pants in This Family
28-31
Hyperpop: By the Internet, For the Internet
32-33
Notes on Long Distance Love
34-37
Nostalgia
38-41
The Life Aquatic
42-45
Sheridan Tjhung
46-49
Fresh. Stasis. Pop.
50-53
McGiveny Fall 2020
54-55
Dreaming in Fall
56-59
Electrifying. Bold. Confident. Yuxin Shi
60-63
Falling in Fall
64-65
Smart & Casual for Everyday
66-67
Patricia McGivney
68-71
Streamlined. Feminine. Clean.
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The Gallery: Four Etchings
76-77
Unsent Letter: On Ghosts
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American Fashion is Dying: Now What?
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HERE WE GO... 7
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Photographer: Lola Constantino, '23
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Editor: Grace Cuenca, '22
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OCTOBER 2020
This collection of photographs includes fragmented shots of my sister and me. I wanted to focus on parts of a whole; relating to the idea that I am only half of something, not complete. Additionally, I played with inverting the photographs, demonstrating how similar images can be presented as opposites (but also I’m not going to lie, I generally just like to invert/solarize my photos so it’s on brand for me). Initially, the photos were all in black and white. But I changed it before upload because I think that relates more to the way I used to think of myself. Also, when I was playing around in photoshop, when I changed the gradients to indigo, immediately I felt more calm, the images felt more cohesive. This feeling of unity, I think, is closer to how I feel about myself now. Also, side note but when I googled the symbolism of indigo, I found that it can stand for justice and impartiality.
OCTOBER 2020
So recently, I read this quote on twitter (I think) about how when you’re biracial, you’re not half one race and half another, but you are two wholes. This kind of changed the way I’ve thought for the past decade. Whenever I was asked about my ethnicity, I always said I’m half Black. Since I’m so light skinned, I always assumed people thought I was just white, so this was a sort of clarification? I’m not entirely sure, but I never would just say I’m Black or I’m white.
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O N T H E TOW N by Alexis Anglade 8/29/2020 Models: Christina Luo '23 and Isabella Pu '23 Photographer: Alexis Anglade '23 Editor: May Tieu '23
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Bienvenue
au jardin
OCTOBER 2020
s'il vous plaĂŽt
Entrez Chrstina's dress: Realisation Par Sunglasses: Kate Spade Scarf: Embroidered by Elena Remez '23
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Isabelle's dress: Nordstrom
When I went out to take these photos with my friends, my main goal was to practice taking photos with models again, as I haven’t done that since long before [quarantining] began. I think this was a fun exercise in remembering how to pose models, as well as blocking and lighting.
In these photos, I tried to keep my friends comfortable in order to highlight their personalities, as well as capturing their outfits in a way that felt true to them. I really wanted this set of photographs to feel casual, like the viewer was out with us.
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il fait beau aujourd'hui
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Expectation VS Our New Reality Author: Magnolia Wilkinson '24 Editor: Ivy Lin '23 I have always been curious about the person I would become.
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For just about as long as I can remember, I have fantasized about the day when I would leave my little Tennessee city for someplace else, someplace where I could grow into my identity all on my own. Perhaps my future self would live in Boston and know the red line like the back of her hand, or maybe she would be a California girl, living out of a van in the middle of the desert, naming every Joshua Tree she sees. As I grew up, these fantasies faded in favor of a more likely path: attending college, hopefully out of state.
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I spent the majority of my senior year motivated solely by the fact that high school would soon come to an end, and before I knew it I would be able to start life on my terms. Then, seemingly out of nowhere, everything changed. midst college decisions and the bustle of the second semester, COVID-19 put the world on hold. I watched as many of the colleges I had to abruptly sent their students home, and it wasn’t long before high schools around tthe country followed suit. Businesses closed, shelves went bare, and tests were few and hard to come by.
Image: Pinterest
Then, on March 27th at 7 pm EST, sitting cross-legged in my childhood bedroom, I was accepted into Princeton University. Even though things were uncertain and the world outside my bedroom felt like it was falling apart, I felt like I was experiencing a miracle. My acceptance gave me something to fixate on that wasn’t the world’s impending doom, and with more clarity than ever about what my future would look like, I started planning. Even though Princeton couldn't release their
in-person orientation, to eat in the dining halls, to get to know the classmates I will be learning alongside for the next four years. I had daydreamed so many futures for myself, but never one like this. One where millions of people are sick and dying. One where I have to start my first year of college online in my hometown. One where I don’t get to live on campus or have my parents help me move into my dorm or any other number of things I just expected to happen.
decision in regards to whether students could return to campus in the fall until July, I let myself be hopeful. When the decision came out that freshman and juniors could return to campus in the fall, with safety restrictions in place, I still wanted to make the most out of what was to come. I ordered decorations for my dorm room and got to know my future roommate. After all, if we were going to spend most of our days in the dorm, it would be nice to have a friend. It was my roommate who texted me to tell me to check my email when President Eisengruber decided to move to a completely online semester. My heart sank. Of course, the loss of a normal freshman year experience is only one of many, many losses that the coronavirus has caused, but I still let myself feel it. I wanted to experience \
No one could have expected that this chapter of our lives would open with Zoom calls and new friends scattered across different time zones, states, and countries. But so it will begin. May we all make the best out of the situations we could have never seen coming, and may you know that even when you are distant, you are never alone.
OCTOBER 2020
Image: Pinterest
If I have learned anything so far this year, it is that things are not always going to look the way that we anticipate. We have all had to adapt to new circumstances this year, and while the challenge of a fully online semester is daunting, it is a challenge that none of us are alone in. If you feel scared, or hurt, or jealous, or exhausted, I can assure you that so many others are experiencing that same emotion. We are all doing our best to bear the weight of uncertainty with the tools we have been given to maneuver through the world, and that can get difficult sometimes! When the world feels anything but comfortable, and anything but sure, I hope that you can be a place of refuge and gentleness for yourself.
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M ME EN NS S D DE EB BI IL LI IT TA AT T
I IN N C CO OR RP PO OR RE E I IN NS S
A A C CR R
A AN N U U
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TA A
SA AN NO O
R RI IP PP PL LE ED D M MI IN ND D I IN N
U UN NS SO OU UN ND D B BO OD DY Y Photographer: Kim Lu '22 E d i t o r : I o a n a Te o d o r e s c u ' 2 1
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Kim Lu
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OCTOBER 2020
In a world where hustlers are rewarded for working long hours and using every ounce of energy to be a productive member of society, many humans may follow suit, thinking that this definition of success guarantees survival. Perhaps some members of the Homo sapiens are equipped for this lifestyle. But some are not, and like clockwork, their gears keep turning because “the grind n e v e r s t o p s .�
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The body and mind are often not on the same page. Dreams and ambitions trans c e n d t h e b o d y ’s c a p a b i l i t i e s , b u t t h e i r e x e cution does not. The body signals its limits, crippling itself to grab the at tention of the mind. With stress, the body erupts in cracks, r a s h e s , i t c h e s , u s i n g p a i n t o c u r b t h e m i n d ’s activities. It indicates a need to stop, to s l o w d o w n , a n d c a r e f o r o n e s e l f, g r o u n d i n g the mind from exceeding its limits.
OCTOBER 2020
Kim Lu
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Background photos from Unsplash
She Wears the Pants in Th
HOW A CONTROVERSIAL FASHION STATEMENT BECAME A LI
OCTOBER 2020
Author: ALAINA C. ‘24 Editor: ANGELA YANG ‘21
Marilyn
Image: Flicker
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his Family
IBERATION MOVEMENT AND A CALL FOR CHANGE
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ants. They come in all styles and colors. Some are comfy while others are tight-fitting. Some short while others long. And all of them were illegal or looked down upon for women to wear until quite recently. Yes, you read that correctly. Even though pants are such a commonplace item of clothing in our daily lives, it only became socially (and in some places, legally) acceptable for women to wear in the late 20th century. Looking at the history of women in pants is looking at a history where half of the population of the world called for physical and social liberation from the intricate network of patriarchy. And while championing the suffrage movement or the Equal Rights Act, some bold women would put on a pair of pants (to the utter horror of their male counterparts) and walk the streets, allowing women today to simply put on a pair without as much of a second thought. And it all started with a singularly tacky piece of clothing called “bloomers”. Before bloomers were introduced into the mix, some ancient cultures had already made it acceptable for women to wear pants. Women in pants were commonplace in Ancient Greece, with many vase paintings and writings providing evidence that it was possible for women to wear pants. Greek folklore even narrates that pants were first created by women. And miles away, in Ancient China, working-class men and women sported leggings and trousers while out in the fields, while their neighbor India had women wearing ethnically inspired “salwar” pants that were eventually adopted by the British East India Company during colonial rule. Not to mention that Joan of Arc had an impressive collection of men’s armors in her wardrobe for which she was eventually burned at the stake (for impersonating a man). Like Joan of Arc, pre-19th century women donned pants when they wanted to do something, which would normally be discouraged for them as women, in the guise of a man. Hannah Snell was a celebrity to some and a disgrace to others when she revealed that she was a woman working under the guise of a man in the British Navy. And there were undoubtedly more Hannah Snells and Joan of Arcs hidden within societal regulations, but wearing pants was still not acceptable. But women really wanted to wear a pair (can’t blame them). So they made their own. Enter Elizabeth Smith Miller. Libby, as she was famously known as, was an advocate and financial donor for the women’s suffragist movement that was gaining heat in the United States around 1850. She is credited with designing a loose skirt with baggy “Turkish-style” pants that loosely resembled the trousers her male counterparts would sport. Her friend Amelia Bloomer excitedly publicized this outfit in The Lily, the first women’s newspaper in America and the pants soon came to be called “bloomers”. Famous suffragists like Elizabeth Cady Stanton exclusively started wearing bloomers to speeches and other events to promote the larger goal of dress reform, which she believed was crucial in her fight for equal rights. Several other female heroes of the time gave bloomers a try, but most all of them had one chief complaint.
n Monroe looking absolutely fierce in a pair of jeans.
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Although bloomers were one step closer in the for women’s horseback riding outfits. As her inright direction, most women found them a singufluence grew through the late 20s, Coco Chanel larly hideous piece of clothing to wear. Self-probrought more of “men’s clothing” into women’s claimed bloomer advocate Stanton herself admitwardrobe, introducing tailored pantsuits, trousers, ted that even though she enjoyed their comfort, jackets and much more. Her outfits spurred the she felt silly giving speeches to large audiences as movement and made it a force to be reckoned they would always have their eyes fixated on her with, as many powerful women, such as Marlene outfit. Many other women had choice words to de- Dietrich, donned her suits and took to the streets. scribe them, calling them hideous balloons among Then came another event that would force women other things. And even though Libby tried her best to wear a pair to get to work. World War II brought by redesigning several aspects of her bloomers, with it the need for women to get out of the house they never quite caught on and soon women were and into the factories that their husbands, boyback to their suffocating corsets and unmovable friends, fathers and brothers had left to fight in the layers of skirts. war. Pants seemed to be the most practical choice The flame, however, was heightened and many in this case as many women took up factory work. subsequent women gave a shot at resurrecting a Women’s fashion itself transformed to become pair of pants. One notable example is the mounmore comfortable as adapting to their new role taineer Annie Smith Peck who climbed the Matter- in society. Even after the men came back and the horn in 1895. Her climbing outfit included – you women went back to their houses, they refused to guessed it – a pair of those controversy-inducing leave the pants they had grown to love so much pants. At a time when scaling mountains in heavy behind. Women brought their pants from the skirts was the norm for many women, safety of their homes to the outside world. Peck faced more criticism than praise Actresses like Marilyn Monroe and Audrey and her work basically amounted to Hepburn attended photoshoots sporting nothingness. Many other women faced jeans while other influential women like the time in prison for impersonating men if openly lesbian singer Gladys Bentley percaught in a pair of pants and most formed in full piece suits. women were frightened into their skirts. Renowned designers also put their efforts Fast forward a couple years later to the into the hat, giving women more choices early 1900s and the practicality and and opportunities to wear pants. Yves St. comfort of a pair of pants became more Laurent designer André Courrèges debuted tantalizing for a woman to ignore. More the iconic “Le Smoking” suit in 1966, sportwomen started borrowing their husbands ed by many famous women of the time. or brothers pants to wear privately inAnd Levi’s remodeled their “Lady Levi’s” side their homes while raising children or line to include more styles and a more taking care of household matters. Some comfortable design. stores started selling pants for women, Amazon woman And as hard as this fact sounds to digest, not with the intention of promoting the wearing pants circa the US Senate had an unofficial rule that dress reform Stanton had hoped for half women were not allowed to wear pants 470 BCE. Image: Pinterest a century ago, but to promote a safe while on the floor until 1993. If former home for the woman. The idea was that it was New York senator Hillary Clinton’s impressive safer for a woman to climb a flight of stairs with a pantsuit collection is any indication, that rule has child in hand while she was in pants as opposed to been dead and done with for the better. long skirts. Hence, pants slowly made a comeback And wow have we come a long way since then. in the luxurious privacy of a woman’s home. Thanks to the toils of several women who came Then, everything took a turn for the better when before, putting on a pair of pants has never been one of these women decided that enough easier. But if the present climate is any indication, was enough. we still have a long way to go. It is important to In 1911, the French fashion designer Paul Poiret continue striving for the right to express our incame up with a new line of pants for women, dividuality and our right to comfort and we can which he hoped would liberate Western fashion. proudly put on a pair of pants and get to work. Inspired by his line, a young and coming fashion And look extremely fabulous while doing so. designer named Gabrielle Chanel released a line
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The Bloomer Costume which took the world of fashion by storm. Image: The Smithsonian
Annie Smith Peck thinking about how comfortable it is to climb a mountain in pants.
Image: The Smithsonian
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Gladys Bentley dazzled everybody with her signature white suit and her brilliant performances. Image: The Smithsonian
The literally smoking YSL “Le Smoking� suit.
OCTOBER 2020
Image: Pinterest
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Audrey Hepburn brought chic into the books with a collection of photoshoots with bold colored pants. Image: Getty Images
Marlene Dietrich showing off her Chanel suit. Image: Pinterest
An Indian woman wearing salwar style pants. Image: Archaeological Survey of India Collections
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We can proudly put on a pair of pants and get to work. And look extremely fabulous while doing so.
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OCTOBER 2020
H Y P E R P O P HYPERPOP BY
THE FOR
INTERNET THE INTERNET By Eva Vesely '24 Edited by Jovan Aigbekaen '23 Cover Image: 100 gecs band Image Source: Underdog.ph
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If you’ve been spending way too much time online lately, as many of us have, then you’ve probably come across the name 100 gecs. Maybe you began listening to the musical duo ironically, initially regarding them as more of a meme than a band, only to eventually fall in love with their music. Or maybe you never grew accustomed to their sound - the gritty bass, pitched-up vocals, and an entire song that sounds like someone trying to pick an iPhone ringtone. Either way, it doesn’t take long to notice that their songs are drastically different from what typically gets played on the radio. But 100 gecs doesn’t exist in a void - they’re part of a diverse genre that’s been around for years: hyperpop. In many ways, hyperpop spawned from and for this generation - the internet generation Even its nicknames are the clear product of an internet ruled by Gen Z. The name ‘glitchcore’, for example, harkens back to the multitude of
take long to recognize the complete chaos that constitutes this genre. In fact, recognize is the wrong word. It’s more like the chaos hits you in the face with a sledgehammer. Characterized by gritty bass, nightcore-esque vocals, distorted samples, it’s certainly a lot to take in. Its songs often experiment with atonality, heavily layering multiple sounds that don’t fit together, creating a disjointed and disorienting effect. You never know where a hyperpop song will end up. Cutesy, girly vocals can turn into dark, screechingsoundscapes as suddenly and violently as a car crash. It’s as if the genre has two personalities. But the boundary between them is often blurred, their distinction tested until the cutesy vocals are pitched up so high they become as unbearable as the opposite end of the spectrum. This is probably what earned the genre the alternate name of ‘bubblegum bass’.
aesthetics born on Tumblr and Pinterest, as well as the internet trend of slapping ‘core’ after a word and forming yet another label. One of the most eminent record labels of the genre, created by A.G. Cook, is literally called PC Music. Hyperpop’s influences are evidence of a generation with instant access to any music they desire, all of their favorite tunes just a click away. A conglomeration of pop (duh), Soundcloud emo-rap, EDM, metal, punk, and countless more genres. Take big name hyperpop Rina Sawayama. Her 2017 album Rina conjures up glittery, hazy images of early 2000s pop, a tribute to the legacy of Britney Spears. Her second album, SAWAYAMA, released this year, is more reminiscent of Lady Gaga’s bold, campy image, but also flaunts some hard rock, metal, and punk elements. This brings us to the dual, elusive nature of the genre. Hyperpop is perfectly catered to Gen Z’s shortened attention span, with sounds that recall our tendency to open YouTube, Animal Crossing, TikTok, and Netflix all at the same time. It doesn’t
The themes in most hyperpop songs are also hyper-relevant to our generation, exploring topics such as gender, sexuality, commercialization, and capitalism. Some of the themes claimed by hyperpop, along with its ‘poppiness’, have led some to wonder whether the whole genre is just one big parody. Is this recent musical movement actually a commentary on the empty, formulaic nature of pop music, the catchiness that guarantees millions of streams and dollars in profits? Is the kitschy subject matter a nod to our society’s gluttonous consumerism and the greed of capitalism? While this may very well be the case with some artists and songs, I see the genre chiefly as a celebration. A celebration of our youth, energy, and sexuality. A celebration of our roots and the internet subcultures we came from, from our MySpace days to our middle-school emo phases. Laura Les, one of the members of 100 gecs, told The Guardian: “We’re not doing this to be ironic. The opposite resonates as really true. There are people who
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In many ways, hyperpop spawned from and for this generation the internet generation.
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say: ‘They’re just expressing a love for music, all sorts of different kinds.’”And besides, the subject matter of hyperpop can get pretty serious. The song “NEVER MET!” by Cmten and Glitch Gum, which blew up on TikTok, is the epitome of a sad break-up song. Grimes and Poppy, two artists who are considered pioneers of the genre, frequently release music about questioning authority and societal norms. Yet all of these songs still maintain their distinct hyperpop style, almost as if to say: “This is who we are. Deal with it.” And finally, like the internet, the genre promotes accessibility. Many young creators start off creating hyperpop songs on their laptops from their own bedrooms. There’s also a community surrounding the genre, with fans and fellow artists frequently remixing their favorite hit songs. 100 gecs recently released an album titled Tree of Clues, which features many of these remixes, including one by the iconic pop-punk band Fall Out Boy. Hyperpop is definitely a genre worth checking out. Of course, it’s not for everyone, no matter how many times the critics get told to “just let go and embrace the chaos.” Just try to keep an open mind and remember: one man’s semi-truck going through a garbage disposal while Alvin and the Chipmunks plays in the background... is another man’s treasure.
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London pop singer/songwriter Rina Sawayama Image Source: Purplesneakers.com
OCTOBER 2020 Images: 80s music board (Pintrest.co.uk) Hyperpop Playlist Cover (8Tracks.com) Pastel Aesthetic (8Tracks.cm) Beautiful by A.G. Cook (PitchFork.com)
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notes on longdistance love Author: Sal Kang '24 Editor: Jampel Dorjee '24
you know he’s so scared of dementia he studies chinese characters every day he writes single words over & over & over & over if his brain forgets i’m sure his hands will still remember // [ — hello? ] pause, delay, pause. can you hear me? silence. a chokedamp hello. each of us murmurs a thing the other can’t quite make out & i can’t help but think that’s what this has become. a distant, faint whisper. two impulsive beating hearts.
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[ — can you be a bit louder? ]
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pixel boy, listen. how do i know that you’re real? my tongue is unwrapping itself from your name & my wrist dulling into reds. your face an erratic brown tinge in the corner of the screen, my sheets a pale white, i don’t know if i can fix any of it anymore. i think i’m forgetting.
[ — what did you say? ] sorry i’m snapping into nonexistence every time your battery dies sorry sorry. my whole arm’s still spluttering reds, beady constellations of reds, & you’re telling me that you remember, that i held you once & i can do it again i’ll do it all again in a heartbeat [ — you know, in chinese, goodbye — means see you again right? ]
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in a way it’s the same—the way my hands ribboned your waist. the way my grandfather learned a whole different language at 80. we always try not to forget & sometimes don’t even feel the slip. there’s no warning when it comes—wait, what was your name again?—god, i’m so damn afraid.
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P R E S E N T S
GRACE WANG N O S T A L G I A
WE WALK ALONG EMPTY ROADS WITH CARS ZOOMING BY,
WE SEE OURSELVES IN REFLECTIONS, SITTING IN ROOMS IN CONTEMPLATION,
WANDERING THE STREETS, AS TIME JUST FLIES BY.
Photographer: Grace Wang '22 Editor: April Dong '24 34
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the life aquatic
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Photographer: Everett Shen '22 Editor: Omar Farah '23 39
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everything was just peachy until our stupid fish ancestors decided that they wanted to see what land was like for a change 41
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S M A L L D E S I G N E R S P OT L I G H T
S H E R I D A N TJ H U N G Author: Evan Haley '23 Editor: Hannah Baynesan '22
Hailing from Perth, Australia, Sheridan Tjhung is a florist turned artisan who is shaking up the accessory industry with her romantically elegant aesthetic.
AN TJHUNG SHERIDAN TJHUNG SHERIDAN TJ Veils: Sheridan Tjhung 43
From her website: “In an age of fast fashion and mass production, Sheridan Tjhung celebrates local craftsmanship and creative innovation. With a core focus on refreshing design made from luxury materials, ‘functional opulence’ is the brands calling card. Established in 2018, and launching online just before the new year, ‘Sheridan Tjhung (Accoutrement)' is a new venture, deeply rooted in the recognizable brand already established by Sheridan’s early work.” Tjhung's career began in floristry and set design, working for the likes of Glossier, Elle UK, Louboutin and Martha Stewart.
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All Image Credit: @sheridantjhung via Instagram
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Using flowers as a medium, Tjhung created fantasy scenery in her signature aesthetic rooted in dark romanticism (in the likes of Alexander McQueen). Having successfully established her career as a well-accomplished florist, Tjhung took on a new creative venture in 2018 with her Sheridan Tjhung Accoutrement line. Utilizing her technical skills from working with delicate and exotic flowers, Tjhung's artisanal headpieces were crafted to be ethereally beautiful on any wearer. Although competent in beading, embroidery, and metalwork, Tjhung's claim to accessory fame came with the launch of her diamond veil series. Simplistic, minimalistic, elegant, yet the show-stopping piece in any room, Tjhung's diamond veils can best be described by “WOW.” Made of hand-appliquéd Cubic Zirconia crystals placed upon a thin thread mesh, tied to the head with two strips of floral-grade velvet ribbon, this “it” accessory has been spotted on the likes of Billie Eilish, Grimes, Bad Bunny, Steve Lacy, and Ciara. A celebrity exclusive piece the diamond veil is not, however. Sheridan Tjhung has also collaborated with two haute couture fashion houses for their runway shows. In February 2020, Sheridan Tjhung and Christian Cowan came out with a line of headpieces for the Fall 2020 season which included new colorways of the diamond face veil as well as a new beret version in the diamond veil style. In March 2020, Tjhung collaborated with Giambattista Valli for the Autumn/Winter 2020 main line collection, producing the diamond and pearl bridal veils (also made in the same style as her signature face veils).
Aside from the diamond veil series, Sheridan Tjhung Accoutrement features two flora inspired pieces available for purchase. The first, a melted slipper pendant available in a fine chain or Cuban link version in 9 carat gold or sterling silver, is inspired by one of Tjhung's favorite flowers used in her floristry work. Her newest venture, however, is nothing short of extraordinary. The “Flower Bag� is a 3D printed Bearded Iris with a detachable 24-inch Cubic Zirconia chain, perfect for hand or shoulder wear. What can we expect next from Sheridan Tjhung Accoutrements? Only time can tell.
You can keep up with Tjhung on Instagram (https://www.instagram.com/sher idantjhung) or shop directly, if you were particularly piqued by any of these pieces at https://sheridantjhung. com .
OCTOBER 2020
Bag: Sheridan Tjhung
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Stylist: Nico Gregory '21 Editor: Ashley To '22
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OCTOBER 2020
BOTTEGA VENETA INTRECCIATO WALLET IN GREY
BOTTEGA VENETA INTRECCIATO POOL SLIDES IN GREEN 48
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-Lord Diam & Taylor E o Earri nd and merald, Gold ngs Drop
MCGIVENY FALL 2020 Stylist: Patrice McGiveny '23 Editor: Jovan Aigbekaen '23
-Guc c Stars i Crystal Crow n
Spec ia chite l Collec tio Matt e Nil n Herme o Cr ocod s Malaile B irkin
Attic o Le
OCTOBER 2020
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Joce ly
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Dreaming
OCTOBER 2020
Stylist: Leonela Serrano '22 E d i t o r : I o a n a Te o d o r e s c u ' 2 1
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OCTOBER 2020
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Outfit Photos from Pinteres
B a c k g r o u n d f r o m U n5 s p5l a s h
Ve c t o r s f r o m Ve c t e e z y
Electrifying. Bold. Confident. Yuxin Shi Stylist: Yuxin Shi '22 Editor: Jampel Dorjee '24
BLOSSOM ZEBRA-PRINT CALF HAIR MULE PUMPS FROM AQUAZURRA
OCTOBER 2020
ZEBRA PRINT FAUX FUR JACKET FROM ALICE + OLIVIA
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BLACK AND WHITE ZEBRA PRINT NAIL DECALS FROM SKINZ BY BABE
BODYSUIT FROM CHANTAL THOMAS
THIGH LENGTH PLATFORM BOOTS FROM CASADEI
MOTO SUPER RIP HAYDEN JEANS FROM TOPSHOP
OCTOBER 2020
LEATHER SADDLE BAG FROM DIOR
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USA RECTANGLE BARRETTE FROM L. ERICKSON LACE CROPPED BLOUSE FROM DAIZY SHELY
STACKING GOLD RINGS FROM KTCOLLECTION
OCTOBER 2020
TWEED FLUORESCENT TRIM MINI SKIRT FROM BALMAIN
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MEGA SHINE LIP GLOSS IN CLEAR FROM NYX
T-SHIRT FROM PHILIPP PLEIN WOMEN'S LUCITE HOOP EARRINGS FROM FOREVER 21
RE-BOOT POINTED TOE BOOTS FROM MANNING CARTELL
OCTOBER 2020
KNEE LENGTH SKIRT FROM NATASHA ZINKO
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OCTOBER 2020
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F A L L I N G
I N
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FALL Stylist: Aishah Balogun '23 Editor: Ivy Lin '23
CHIC
Vintage Brown Chanel Scarf: Chanel
Brown Satin Corset: Prettylittlething
Selva Oscura 24K Gold Plated Hoops: Alighieri
OCTOBER 2020
Hermes Birkin Vaska Fran 2016: Hermes
Pinktuck Flared Leather Pants: Rosetta Getty
Vintage Leather Patchwork Heeled Boots: no brand 61
VINT
Brown Bralette: no brand
Sheer Vintage Brown Tank: no brand
Round Sunglasses: no bran
OCTOBER 2020
White no bran
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Nanushka Marfa Wide-leg Jeans: Nanushka
Nike Air Jordan 1: Nike
Vintage Handba
TAGE
Faux Leather Trench-coat: ZARA
Kate Gloves: Agnelle
nd
e Dark Brown Chanel ag: Chanel
Wilfred ONLY Turtleneck: ONLY
OCTOBER 2020
Silk Dress: nd
Brielle Layered Coin Necklace: Francesca's
Trainer Midi Skirt: Mes Demoiselles 63
SMART & CASUAL F Trench coat: Moda Operandi
Leather jacket: yoox.com
White cat eye shades: Matchesfashion.com
Lace-up top: Moda Operandi
OCTOBER 2020
Plaid dress: Gucci
Leather bag: Orchard Mile
Nude heels: Mytheresa
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Tan pants: Moda Operandi Light wash jeans: TheRealReal Off-white pants: stylebop.com
F O R E V E R Y D AY
Stylist: Baylee Cox '23 Editor: May Tieu '23
Face earrings: Shoptiques.com Tortoiseshell cat eye sunglasses: Farfetch Belted black top: yoox.com
Cream knit sweater: net-a-porter.com
Doc Martens: 6PM.com
Black dress: Farfetch
White silk dress: Intermix Black dress: Farfetch
OCTOBER 2020
Plaid skirt: Mytheresa
White booties: TheRealReal
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Stylist: Patrice McGivney '23 Editor: April Dong '24
P R E S E N T E D
B Y
GRACE WANG N O S T A L G I A
OCTOBER 2020
I WALKED EMPTRY ROADS, BUSTLING MARKETS,
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Photographer: Grace Wang '22 Editor: April Dong '24
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OCTOBER 2020
Jeans: ChloĂŠ Frayed Wide-leg White Top: Cult Gaia Tali Top: Princess Polly Off-shouldered Top: Alexander Wang
OCTOBER 2020
St ream li ned. 68
OCTOBER 2020
"The mesh shoulder and the asymmetrical button line add subtle details and dimension to a piece that would otherwise be quite simple and basic."
Top: Paris Georgia Pants: Raoul Cardigan: Jacquemus
Stylist: Uanne Chang '24 Editor: Hannah To '22 69
OCTOBER 2020
Dresses: Cult Gaia
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Fem i ni n e.
Top: Jacquemus Middle: Cult Gaia Bottom: Cult Gaia
OCTOBER 2020
C lea n. Sunglasses: Jacquemus Top: Jacquemus
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The Gallery "Untitled: Four Etchings (1992)" Author: Yezekiel Williams '21 Editor: Tara Shawa '22 Image: Metmuseum.org
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Four Etchings
OCTOBER 2020
Glenn Ligon is an African American conceptual artist operating out of New York. As a conceptual artist, much of his work, often centering on race and politics, is conveyed through the use of language. In conceptual art, according to Sol LeWitt, “the idea or concept is the most important aspect of the work [...] all of the planning and decisions are made beforehand and the execution is a perfunctory affair."
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Therefore, the primary step in interpreting or analyzing conceptual art is quite often to peel back the material components of its execution. In this series, Ligon repeatedly includes quotations from Zora Neale Hurston’s article ”How It Feels to Be Colored Me” (1928) in which she states “I do not always feel colored... I feel most colored when I am thrown against a sharp white background”. He also visually references Ralph Ellison’s novel “Invisible Man” published in 1952, dealing with concepts of erasure and agency. Ligon visually represents these two literary works across the four prints, juxtaposing the emboldened contrast of the black and white textual
overlay of the first two prints with the subtlety of the monochromatic black text and background of the last two.
In the former, Ligon captures the sentiments of Hurston, with the black text being defined by the white space and society that set it apart. As this artwork would be seen on the walls of a gallery, one can imagine how the typically white wall would add to this effect, making the black text appear insignificant and underrepresented in relation to the expansive white background which extends beyond the frame. In the latter etchings, Ligon demonstrates the invisibility of the message by flattening the words into background by using a similar shade and tone for both. As with the first two etchings , their placement on a white wall could also serve to undermine the presence of the monochrome black background, reducing them to a black rectangle surrounded and dominated by the white space.
the frame has become the statement, how the legibility of the work is deeper than a surface-level consideration. In this way, the “non-legibility” (referring to the assumption that one is not intended to read it) of the monochrome print emulates the assertion of a community of color’s existence as a social statement as well as the racial understanding within the community, having both shared experiences and collective histories that may not lend themselves relatable to those of an outsider. Similarly, the legibility of the black on white print asserts the importance of cultural labor for the Black community and other communities of color within America.
OCTOBER 2020
In the first two etchings, the text gradually becomes obscured by the increase in visual noise. Here, Ligon challenges the audience’s perception and plays with the difference between reading a work and viewing it, all the while maintaining the emphasis on the contrast between black and white. As the text. steadily transitions from print to painting, the reader is forced, perhaps reluctantly, to become the viewer. It seems that Ligon’s additional message, relevant to the modern day, is that not only is it important to see one’s color, but it is also crucial to listen to what their color stands to say and represent, especially concerning differences across humanity. This is further substantiated by his reference to Emerson’s “Invisible Man”, in which he writes “I am invisible… simply because people refuse to see me,” much like the reproductions of text throughout the series of prints. Ligon outlines this through his dual emphasis on contrast and legibility within the context of racial representation. To better understand this, it is also important to note the irony of the quotation “I do not always feel colored” disguised comfortably in the essence of its own coloredness, and as if everything within
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ON
OCTOBER 2020
Dear Brothers,
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In the traditional nuclear family a woman is like a ghost. She exists only in the spaces-between, the absent-hollows, the muttered words of dissent after your father’s long speeches. Ideally, one is only aware of her by the traces she leaves behind freshly washed dishes, newly folded laundry, the smell of bleach and the slightly tacky linoleum of a clean kitchen floor. She flits from place to place, and shuts herself up in a small cedar-scented cupboard when she isn’t haunting the kitchen, the laundry room, and the dining room. I was a ghost for many, many years.
If you are reading this and you are the oldest daughter of several siblings, you are nodding your head. I have nothing else to say to you except that I am sorry. But if you are a brother, I have a few things to ask.
It was only after I moved out that I rejoined the land of the living.
Listen to your sister-brother for a long time. Do not interrupt. Listen at least until you can hear
Ask your sister about her childhood. Not about your childhood, you understand, but about hers. Listen. Listen not as though she is your sister, which will only lead to the rattling of shutters and the twitching of a planchette, but listen to her as though she is your brother.
her not as the brother she isn’t, but as the sister she is. Think of all the absent-hollows of your childhood. Not the places where there were things, but the places where there weren’t. When did you not have to wash the dishes before seeing your friends? When did you hear your parents scream about dirt on the kitchen floor, and ignore it because it was not about you? How often did you enter the living room to find the pillows tidied, blankets folded, curtains drawn, without hearing so much as a creak upon the stair? Your anger may flare as you reason that nobody asked her to do those things: you certainly didn’t. What is it to you, if the dishes are unwashed, if the stove is dirty? But I ask you to understand this: that the most effective way to get someone to do something is to blame them for not doing it. Tell someone to do something, and they will do it once. But scold them because it is not done, and they will be constantly vigilant for it, ever fearful of another misstep that will cost them an iota of love. It creates a voice in their heads that hums, low and sing-song and dangerous, as they see dirty dishes or empty bowls. For some women, it sounds like their mothers. For other ones, it sounds like their fathers. Once you believe you have grown up, it sounds like your own voice, and you cannot ignore it. From a young age, we are taught that our worth and power comes only on our knees. Ask your sister if she has ever knelt on the kitchen floor and wiped away grime with the pads of her fingers because she was too exhausted to get a towel. Do not ask her if she has ever felt a man’s hand bearing down on her shoulder with a force more inexorable than gravity, woken up with fingerprint-shaped bruises on her collarbone and blood between her teeth. It is not your right to know. It will do nothing to apologize now. Apologize anyway. I heard a story once about a man who lived in a lighthouse. Every night, he would hear the
footsteps of the long-dead former keeper tread up and down the long, metal stairs that lead up to the light. He hated it at first, casting salt and sage around the beacon to get rid of it, but every night, the footsteps would return, clanging up and down that winding spiral staircase. Soon, the man got used to them and slept soundly through the night. However, one night, a ship was approaching, searching the shore for the beacon that would tell them where a dangerous reef was. The lookout despaired as he scanned the horizon, seeing nothing but the black mass of land and the dark water. Just as the prow of the ship was about to run aground, a pinpoint of light flared up and the lighthouse began to rotate again. The ship hauled hard to port and was saved. The next day, the lookout set out from town, ready to give the lighthouse keeper a good talking-to for letting the wick burn out. The keeper nodded along to his scolding, but seemed distracted. As he rose to leave, the lookout paused, and said, “Something has been bothering me, actually. How did you know to turn on the light?” The keeper smiled. “Simple, really. The footsteps stopped.” Do not wait until the footsteps stop to see them. Offerings are not necessary; neither is salt and sage to exorcize them. Instead, simply see them. Stand at the bottom of the lighthouse and look up, and when you are ready, begin to climb. Sincerely, Sisters Author: Annymous Editor: Jacqueline Xu '22 Photography: Joshua Hoehne on Unsplash Ibrahim Alonge on Unsplash 77
AMERICAN FASHION IS DYING:
N O W W H AT ?
Author: Camille Reeves '23 Editor: Hannah To '22
OCTOBER 2020
As we move our way through the first year of a new decade, the unique opportunity to reflect on the previous decade presents itself. And while this is not a trend of just the 2010s, it doesn’t take a fashion historian to see the growing disparity between American fashion and the rival houses overseas has been aggravated over the past decade. Brands such as Calvin Klein, Tommy Hilfiger, and Michael Kors have failed to rise to the occasion of ever-changing 21st century fashion, and it needs to be addressed. Now more than ever, when people save up for a luxury item, the list of brands tends to include overseas giants like Gucci, Fendi, Louis Vuitton, and Prada, rather than Coach or Tom Ford.
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This is not due to the lack of talent stateside, as many exciting designers have shown promising and cutting-edge collections at New York Fashion Week, but it's the fashion houses themselves that are digging their own graves. While houses in Paris, London and Milan have prided themselves on being pipelines for young talent emerging from Europe’s premier fashion schools and burgeoning young designers, American brands have been much more hesitant to bring in new talent. Furthermore, when they do bring in new talent, they tend to constrict the new designer’s vision to fit the historic image of the brand, forcing stifled and dated collections with no particular clientele in mind.
A prime example of this was Raf Simmons’ brief stint at Calvin Klein, which lasted from 2016 to 2018. Simmons is one of the biggest names out of Europe right now, as his namesake brand is producing some of the most popular menswear designs globally, and he just announced his position as co-creative director with Italian brand Prada. He was also the creative director of Dior womenswear immediately prior to his position at Calvin Klein. However, this match, rife with potential, fell apart quickly as Simmons made the decision to leave the brand before his contract expired. While the details for
Tom Ford’s Miami Location Storefront
Ralph Lauren / Flagship London Store Interior
Larger companies have more means to experiment with their image and branding, and it ultimately lies with them to start the rebranding movement amongst American designers. The stubbornness of these houses to maintain the original image of their respective brands will ultimately be their demise. As a fashion fan, I want to see more creativity coming from our side of the ocean, and the most heartbreaking part is that there is young talent who can provide that kick in the tail these brands need. And as these American brands grow to rely more and more on perfumes, underwear, and accessories to fuel their revenue, the need for a breath of fresh air becomes more and more apparent. Personally, I would love to see names like LaQuan Smith, Prabal Gurung and Christian Cowan become household phrases, helming these big brands into new and exciting territory. There is still time to revive American fashion, but its fate lies in the hands of these brands. The choice between conserving the old ways and diving off the deep end into something new is theirs, but it lies onto us to support these new faces in American fashion, and to continue to create a space that supports breaking through the tired designs of yesteryear.
" The
s t u b b o rn n ess of t h es e h o u s es t o m a in ta in t h e o ri g i n a l i m a ge of t h ei r res p ec t i v e b ra n d s w i l l u l t i m a t el y b e th eir d em i s e. "
OCTOBER 2020
the breakup are still not completely understood, it is pretty obvious there was a difference in vision. Between Simmons’ future-forward thinking and Calvin Klein’s needs as a billion dollar business, there was bound to be tension. But it is also brands like Calvin Klein that have the most room to take a new designer under their wing, as they have more financial space to take risk.
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I G : T I G E R .T R E N D S FAC E B O O K : T I G E RT R E N D S P R I N C E TO N TWITTER: TIGERTRENDSPU WEBSITE: TIGERTRENDSPRINCETON.COM
S U P P O R T E D BY: PROJECTS BOARD