SS Issue 2022: ESSENCE

SS 2022

ISSUE NO. 34

essence

NO. 34 SS 22

in this issue

COVER photographed by Chloe Masys styled by Alyssa Jones hair + makeup by Anjali Duke de Lanerolle & Tory Noble modeled by Annie David & Alyssa Jones

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06-07

INTRODUCTION

40-43

introducing Essence

08-09

CUT + COLOR

written by Nina Schumann

44-47

written by Alice Momany

10-15

BLOOM IN BLUE

THE OPEN DOOR CLOTHES CLOSET

48-49

THE WATER WE WEAR

TIMELESS JEWELS written by Kaya Young

50-53

written by Grace Killian

20-23

TRUE FOR M photographed by Hannah Daris

photographed by Britt Ehret

16-19

PERSONAL SPACES

FROM STUDENT TO START-UP written by Jason Meggyesy

54-55

OUT OF HAND photographed by Sabrina Wrachford

written by Natalie Luci

26-27

UNPLUGGED

56-59

written by Abby Fribush

28-31

REFLECTIONS

written by Ava Shaffer

62-63

written by Regan O'Brien

32-35

ON DISPLAY

THE ART OF MOVEMENT

ESSENTIALS written by Mihaela Manova

64-69

photographed by Amanda Schweder

36-39

ON LOVE

GROUNDED photographed by Chloe Masys

70

LAST WORDS from the editors

written by Emma Enebak

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EDITOR-IN-CHIEF

Grace Callahan

STYLISTS

Nina Schumann

Brenna Naughton

Kelli Amburgey

Emely Villalba

Taylor Shockley Olivia Spencer

Katie Ellsworth

CREATIVE DIRECTOR

Annie David

PUBLISHER

Olivia Owens

DIRECTOR OF FASHION

Alyssa Jones

DIRECTOR OF HAIR & MAKEUP

Sophia Fujimaki

WRITERS

Austin Hampton

Emma Enebak

Lilly Landenwich

Abby Fribush

SOCIAL MEDIA

Ellie Lemanowicz

Grace Killian

PHOTOGRAPHERS

Halle Maskery

Natalie Luci

Tia Benson

Brennen McGill

Mihaela Manova

Megan Cantwell

Sarah Oldford

Jason Meggyesy

Marina Carey

Lindsay Russo

Alice Momany

Monet Cavanaugh

Meggie Rasure

Regan O'Brien

Hannah Daris

Grace Willson

Ava Shaffer

Kenneth DeCrosta

Kaya Young

Deanna Hay

Julianna Spina

Annie Henrichs

HAIR &

DIRECTOR OF PHOTOGRAPHY

Ivy Richter

DIRECTORS OF SOCIAL MEDIA

Jessie Dolby & Kelsey Lewis COPY EDITORS

Carolyne Croy & Nina Schumann DIRECTORS OF EVENT PLANNING

MAKEUP ARTISTS

EVENT

Kaitlyn Lucente

Anjali Duke de Lanerolle

PLANNERS

Kelsey Plasse

Katie Ellsworth

Gaby Benjamin

Sabrina Wrachford

Natalie Luci

Gabriella Findley

Chrishay Miles

Morgan Jeewek

Sophie Mone

Jack Kerstetter

Tory Noble

Riley Morgan

Sarah Oldford

Brynn Pierce

Vivian Sessions

Lilya Smith

Weizhen Wang

Marisa Sandoval & Alex Walker

DIRECTOR OF COMMUNICATIONS

Kate Buckley

DIRECTOR OF MARKETING

Kate Horvath

SENIOR BLOG EDITOR

Regan O'Brien

BLOG EDITOR

Emma Enebak

COMMUNICATIONS PHOTOGRAPHERS

Anne Marie Arnold

Monet Cavanaugh

Nikki Benjamin

Hannah Daris

Molly Blue

Kenneth DeCrosta

Liz Bregman

Brittney Ehret

Caroline Evans

Deanna Hay

Sarah Holman

Annie Henrichs

Alexa Hoover

Kaitlyn Lucente

Julia Laginess

Chloe Masys

Claire McGivney

Clare Mazzei

Jordan Saunders

Jake Ruffer

Abby Zielsdorf

Amanda Schweder Sabrina Wrachford

Miami University's student-run fashion & lifestyle publication inspiring authentic style and expression.

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MARKETING Maggie Arden

ADVISORS

Annie-Laurie Blair & Sacha Bellman

Maggie Walther

LAYOUT

Mia Brillhart

DESIGNERS

Charlotte Budge

Lindsey Brinkman

Julia Corna

Eliza Bush

Giade Ensley

Katie Buecker

Caroline Evans

Grace Callahan

Madison Frindt

Macey Chamberlin

Lauren Kelley

Caroline Cilley

Ellie Levy

Gracie Glickman

Diana Mejia

Madelyn Liedel

Brennen McGill

Laurin McNulty

Molly Mosby

STYLISTS

Daisy Agne Kelli Amburgey Annie Dima Austin Hampton Alexa Hoover Kate Hopkins Lilly Landenwich Ellie Lemanowicz Sloane Lewis Halle Maskery Tessa Robinson Lindsay Russo VaLanDria Smith-Lash Grace Willson

BLOGGERS Annika M. Baldwin Anaka Bretzke Jackie Cameron Lizzie Hardesty Grace Klebe Natalie Luci Megan Nabozny Ava Shaffer Kendra Stiers Emily Stisser

Letter from The Editor LETTER FROM THE EDITOR

In preparation for our spring/summer 2022 issue, I asked the UP executive staff to define their hopes for the year in a few, short words. “Be more present,” “Be more intentional,” “Celebrate myself,” and “Do more for me,” were just a few of the intentions we set for the new year – inspiring our SS22 issue, Essence.

To capture these intentions, we looked inward, reflecting on the indispensable qualities that make us, as individuals, unique – our essence.

Not only does Essence inspire our readers to self-reflect, but it also celebrates the raw, yet multifaceted characteristics that make the people, places and things around us who and what they are.

Through soft, intentional styling, captivating photography, thought-provoking articles and minimal design, all created by students, Essence truly embodies the unique qualities of each staffer that’s poured their talents into the production of this issue.

Shot by Britt Ehret on page 10, the compelling photo editorial “Bloom in Blue” showcases the power of one, simple fashion staple – denim.

Grace Killian’s piece, “The Open Door Clothes Closet,” on page 16, highlights a new clothing resource for transgender and genderdiverse students located in Miami’s Center for Student Diversity and Inclusion. The Open Door Clothes Closet serves as an outlet for students to experiment with their identity through fashion, free of charge.

“Unplugged,” written by Abby Fribush, found on page 26, offers a raw glimpse into our tumultuous relationship with technology and the power of disconnecting.

The article on page 40, written by Nina Schumann, presents the undeniable connection between ourselves and our personal spaces – which often serve as an extension of our personalities, interests and desires.

“From Student to Start-up,” written by Jason Meggyesy on page 50, explores the complex motivation behind the dreams of four Miami student entrepreneurs.

“Grounded,” photographed by Chloe Masys on page 64, showcases our roots in nature through minimal styling and stunning imagery.

As the academic year comes to a close and new chapters of life begin for many, we hope Essence inspires you to pause, reflect and appreciate the extraordinary and intricate nuances that make us each who we are at our core.

Much UP Love,

Grace Callahan EDITOR-IN-CHIEF

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ESSENCE (n.) the fundamental and indispensable qualities that characterize or identify people, places and things.

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CUT + COLOR

photographed by Deanna Hay styled by Lilly Landenwich hair + makeup by Julianna Spina modeled by Maddie Bennett, Maddy Evans & Laura Schonken

Exploration Through Hair

written by Alice Momany When Josie Wenzell was 19 years old, she shaved her head.

“People thought, ‘Oh she’s having a breakdown,' but that was not the case at all, and actually, I think it was quite literally the opposite,” Wenzell said.

Wenzell’s decision to shave her head was a result of her passion to change the narrative around hair.

“For me, it came down to what society defines as being feminine, and overall societal misogyny. I didn’t want to be confined to that,” Wenzell said. “I think being feminine doesn’t have to be what your hair looks like.”

Wenzell, whose curly locks have been orange, platinum blonde and black, views her hair as a canvas for creativity.

“I first dyed my hair when I was 16, and I dyed it a more natural orange color, and that was my first time doing something different,” Wenzell said. “I realized how much I liked it, and how much it made me realize hair can be a really fun, unique form of self-expression.”

Mona Kerby, an Oxford hairstylist at Attitudes Uptown, said people have an emotional attachment to hair that revolves around self-identification.

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“I think it’s just something that we have from the time we’re children, and we style it in different ways or do different things to fit our personality,” Kerby said.

Kerby often uses her hair to reflect her bubbly personality.

From bright white, to blonde, red with rose-gold tints to shaved sides, Kerby enjoys being a model for her clients, especially those who are hesitant to try something new.

Kerby said she always advises her clients who want to try something different to begin with small steps.

“Start slow,” Kerby said. “It’s hair. Personally, I’m not that attached to it, but there are a lot of people who are.”

According to Vivian Diller, a psychologist and contributing author at HuffPost, most people are hesitant to try something different with their hair because hair is one of the most identifiable features during human interaction.

“Following a person’s smile, eyes and skin, their hair is often the next feature people notice on first encounters,” Diller wrote. “It is among the top three features – along with height and weight – used when describing others and one of the features most often recalled after a social interaction occurs.”

According to Diller, humans are innately fixated on other peoples’ perceptions. Humans tend to create an appearance that seems put together and well-managed for confidence around other individuals.

“Many men and women associate confidence with feeling in control, and hair is one way most of us can be in charge,” Diller wrote.

Jason Meggyesy, a junior at Miami University, understands the influence of hair within creative expression and social interactions.

Meggyesy’s first introduction to the endless opportunities of hair was in the first grade for “Crazy Hair Day.” Meggyesy dyed half of his head red and the other half green, allowing him to understand the independence he had with his hair as a child.

“Ever since I was young, I’ve always liked how I can control what my hair looks like,” Meggyesy said. “It has been an identifiable trait for me as I’ve grown older.”

Since his half-red, half-green up-do, Meggyesy has also experimented with growing his hair out, cutting it short, shaving it and even styling it as a mohawk.

As a Black man, Meggyesy shared that there are many stigmas and stereotypes surrounding people of color and their hair, but he encourages them to embrace their hair as a portrayal of their culture.

“Obviously, I can’t speak for every single person of color, but from what I’ve experienced and what I’ve seen, it’s just another form of expression,” Meggyesy said.

“For me, personally, being a person of color, I’m able to do so much more with my hair. It signifies all these different things and can represent a specific person and how they’re trying to articulate their culture.”

Although hair styling, hair care and hair culture signify something different for everyone, Wenzell and Meggyesy both agree that hair is a foundation of identity and an outlet for self-expression, unique to every individual.

“It is something that everyone can see,” Meggyesy said. “You don’t even have to know a person to notice their hairstyle.” “[Hair is] something you don’t have to use words for in order to get a message across.”

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editorial 01

BLOOM IN BLUE

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photographed by Britt Ehret styled by Austin Hampton hair + makeup by Natalie Luci modeled by Fiyin Akomolafe, Abby Fribush & Annie Henrichs

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photographed by Annie David styled by Alyssa Jones hair + makeup by Sophie Mone modeled by Sam Breit, Evan Gates, Andrew Hahn, Megan Jordan Kridli, Madi McGirr, Indigo Miller, Jubilee Skoczen, Syd Steck & Zaira Ruby Void

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THE OPEN DOOR CLOTHES CLOSET written by Grace Killian On the second floor of Miami University’s Armstrong Student Center, tucked inside the Center for Student Diversity and Inclusion (CSDI), there’s a small room with soft lighting and a collection of various sized mirrors. Inside, there is a long clothing rack teeming with an assortment of pieces in a wide array of colors and sizes, stacks of shoes and two large sections of accessories including jewelry, belts and scarves.

This room, the Open Door Clothes Closet (ODCC), allows students of varying gender expressions to explore their identity through fashion in a safe space. The ODCC allows transgender and gender-diverse students to bring home pieces so they can step into the world feeling confident.

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Megan Jordan Kridli (she/her), the co-president of Spectrum, a Miami student-led organization for students of all sexual identities and gender expressions, feels that envisioning new forms of expression through clothing is a meaningful aspect of transitioning.

“When you're thinking about, ‘where am I gonna see myself in five years,’ you're also thinking about yourself wearing clothing that matches that presentation,” Kridli said.

However, replacing an entire closet can be very expensive.

Especially for college students, the financial burden can be difficult to bear.

That is why the ODCC is free – to encourage students to express themselves through clothing without financial stress.

Though the ODCC eliminates all financial hesitation, many students don’t visit the space due to feeling that other trans students may need it more.

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me, and I think it does for a lot of other people, where it feels like you don't want to take the resource because there's got to be someone who needs it more than you.”

Miller first went into the ODCC with hesitation, but left feeling incredible.

"It's sort of like a self love thing,” Miller said. “Actually doing the thing that is kind to yourself and getting underwear that are affirming or clothes that are affirming. It's something that I think trans people are used to living without.”

The ODCC opened in the fall semester of 2021 after two years of grant writing and preparation. Interns and directors within the CSDI have worked for the last year to make sure the clothes closet reached its fullest potential.

When imagining the space, student interns wanted to make sure it was also accessible for people who aren’t able-bodied.

The interns also understood the importance of having a wide range of sizes in every style.

Indigo Miller (they/them), co-president of Spectrum, knows how important it is for students to continue using the ODCC so it can stay open. However, they understand the difficulty of getting students into the space.

Syd Steck (they/them), an organizing director of the ODCC, made sure that the clothes closet met the needs of all the students who needed it as a resource.

“Something about being offered free things because you're trans just feels really foreign,” Miller said. “It felt foreign to

One way they made sure the ODCC met student needs was through focus groups. These groups tested out the closet in its

initial stages and provided feedback to ensure the space was the best it could be upon its opening.

“This should be a project by and for the trans and genderdiverse community,” Steck said.

Madi McGirr (she/they), another organizing director of the ODCC, knew it was important to perfect the space before it opened in October of last year – whether that was in rearranging to make it more accessible, or by making sure the right clothes were available.

“I just remember we were working so hard, up until the day to get the center to look [exactly] how we wanted it,” McGirr said.

McGirr and Kridli were two of the students involved in the shopping trip that took place before the first opening of the closet.

The students on the initial shopping trip were asked to pick out clothes they would wear themselves. For Kridli, that meant finding clothes that accentuated her body in the way she wanted.

“When we were going clothing shopping, there was a huge emphasis on what types of things are affirming to you and your body,” Kridli said. “We [had to] make sure that that is expressed through what we put in the closet.”

According to Tina Coyne (she/her), the assistant director of LGBTQ+ initiatives in the CSDI, keeping the space wellstocked is important so that while in the space, students can fully explore their personal styles.

“A big piece is that every student has their own unique style, and some people are trying to experiment what that style looks like for them,” Coyne said. “So there's going to be a lot of trial and error of trying on.”

The ODCC is also able to go out and purchase new items in different sizes or styles based on requests from students using the space.

“It fills a lot of niches for a lot of different people in a way that really facilitates people being able to explore what they do and don't like,” Kridli said.

is able to serve as a resource for each of these students.

“We’re trying to get a little more well-rounded,” Coyne said.

“We’re trying to keep that balance and blur the line between what is masculine and what is feminine.”

Miami senior Zaira Ruby Void, had to overcome overwhelming feelings and emotional hurdles through her transition. The ODCC, she said, is a safe place that respects and appreciates the difficult journey.

“I still get anxiety about violating expectations, but I've also built a conviction around queer identity. I can take a deep breath and confidently press on,” Void said.

Trans students who are actively involved in trying to create change at Miami, like Evan Gates, co-director for transgender equity and inclusion in Miami University Associated Student Government, can often feel tokenized.

“I cannot name a time where I walked into a room and I was not the only trans person,” Gates said. “When I walk into a room, people have a certain image of what trans people look like. No, I don't fit that image. I do that deliberately, but I shouldn't have to.”

The people working on the ODCC understand how important it is to cater the clothes closet to all experiences. Some Miami students are open about their identity while others are still exploring.

Part of welcoming all students to the ODCC is advertising the space and its mission. This includes hanging flyers in genderneutral bathrooms and sharing information at Spectrum events.

Many argue that Miami University’s policies largely overlook students of varying gender expressions. It was only two years ago that students were allowed to change their names on their diplomas. Even now, it’s difficult to change your name on the many university-wide tech systems.

While the ODCC may not be able to push this institutional change, it does create a space for trans students to claim as their own.

“We officially have a place here on this campus,” Steck said.

“That can't be denied.”

Across Miami’s campus, there is a wide array of queer experiences and identities, and it’s important that the ODCC

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photographed by Monet Cavanaugh styled by Maggie Rasure hair + makeup by Sophie Mone modeled by Anjali Duke De Lanerolle, Malcolm King & Jen O'Brien

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the we wear

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written by Natalie Luci

that is gentler on our planet.

It takes over 700 gallons of water to produce just one cotton T-shirt, according to The Conscious Club, an organization dedicated to environmental sustainability.

While these brands are taking a step in a greener direction, there are still many brands failing to follow suit.

This is enough water for one person to drink at least eight cups per day for over three and a half years.

Not only is the fashion industry the second-largest consumer of the world’s water supply, but it also produces 10% of the world’s carbon emissions, according to The World Bank, an international financial institution focused on sustainable growth.

Beyond that, the action of washing clothes releases 500 tons of microfibers into the ocean every year – equivalent to 50 billion plastic water bottles.

As fashion consumers, we also contribute to the astronomical environmental damage caused by the fashion industry each year.

While it may be hard to fathom how our individual purchases, mere drops in a vast ocean, could ever create a lasting ripple effect, these choices can create greater waves which impact the entire entity.

In other words, every garment purchased and brand supported impacts the future of our environment.

However, many fashion giants are leaning into more sustainable practices. In 2015, Adidas partnered with Parley, a nonprofit environmental organization, to develop a sneaker made from reclaimed ocean plastic.

Similarly, in 2012, Levi’s partnered with Water.org to launch “Go Water<Less,” an interactive campaign encouraging consumers to adopt a more sustainable lifestyle and to experience what life is like for the nearly one billion people worldwide living without clean drinking water.

As part of this campaign, Levi’s created “Water<Less” products that reduce the amount of water used in production by up to 96%.

In addition, in 2019, URBN, a portfolio of global consumer brands including Urban Outfitters, Free People and Anthropologie, developed Nuuly, a marketplace for renting, thrifting and reselling clothes, to promote online shopping

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In fact, many companies have received criticism for “greenwashing,” an unethical practice where companies pose as an environmentally friendly brand to consumers through strategic advertising, though fail to make any true sustainability progress in internal business practices or behaviors.

According to Good On You, a media source for ethical fashion information, notable brands like Lululemon actively greenwash by vaguely promising consumers to “adapt infrastructure to take back products after first use and recycle materials into a valuable next life.” Good On You notes that claims like these provide no clear, future plan of action nor any promise for follow-through.

Dr. Jonathan Levy, professor of environmental science at Miami University, stated that, in order to see through company greenwashing, consumers must dig in and do individual research.

Levy added that positive change can only come when we begin to consume less.

When we purchase more, we incentivize the producer to make more and thus buy into detrimental overproduction, pollution and damage.

However, Levy also said that, although individual consumer choices are impactful, much of the influence boils down to the actions of large corporations and our government.

“The clothing industry has always been the source of a lot of pollution and a lot of damage that dates back centuries,” he said. “We need more systemic changes at a higher level. We need government policy.”

Miami University fashion professor Della Reams hopes that for the future of fashion there are “more beautiful things and fewer things.”

Reams added that the fashion industry is largely responsible for the slow poisoning of our water supply. She said clothing production heavily pollutes the water it uses through toxic waste and dyes infiltrating the previously clean water sources near manufacturing plants.

As consumers, we are capable of making environmentally conscious purchases in an attempt to slow the relentless damage that fashion inflicts on our water and Earth as a whole.

Miami University freshman Maggie Kinzer said she does her part for the environment by avoiding fast fashion brands like Shein or Zaful.

“It’s all about quality over quantity for me,” Kinzer said. “If my purchase makes me feel guilty, then what’s the point?”

Miami freshman Cole Pittman minimizes his footprint by supporting small businesses and shopping locally at thrift stores and farmers markets.

“Any day-to-day action we can take to help lower our carbon footprint makes a big impact,” Pittman said.

Levy said he “wears his clothes to death,” and Reams added that she ensures her own clothing is high-quality and will last a long time.

We cannot escape the necessity of clothing, but we can become more conscious and intentional with our purchases.

We must water the daily habits that benefit the world we live in, so that they may bloom into large, impactful movements.

It doesn’t always take grand acts, just unity and solidarity – so little by little, we can make a difference.

.

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UNPLUGGED written by Abby Fribush There is something beautiful about stillness: a calm, quiet, motionless state. It has become somewhat of a rarity in today’s busy world, but for many people – especially young adults – stillness brings feelings of overwhelming discomfort and anxiety.

Some suggest these feelings of discomfort can be attributed to the role that modern technology plays in our lives.

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According to the National Institutes of Health, collegeaged adults in the U.S. spend over 30% of each year on their smartphones. While this may sound like an overestimated statistic, we often fail to realize just how greatly our lifestyles have changed with the introduction of modern technology.

Each day, we are distracted by a chaotic slew of notifications, hung in a suspended reality between the present and our screen.

We begin our day catching up on messages missed during sleep. We continue through the day constantly picking up our phone, toggling between apps. We end our day checking our messages one final time before we read them first thing the next morning.

Mack Hagood, a Miami University media studies professor, dives deeper into the implications of our relationship with technology.

“Humans have a need for relationships and [to feel] a sense of belonging,” Hagood said.

“We use our devices with good intentions, but the algorithms behind apps and sites we use take advantage of our good human impulses.”

Technology has continuously integrated into our daily lives, leaving us constantly stimulated, but with little to no time to connect with the world around us.

Are we completely plugged into an online reality?

For a long time, I struggled with “unplugging” and being present.

My brain was constantly moving. I could barely get through books and movies I wanted to consume, and worse, I felt anxious when I was alone with my thoughts. I couldn’t bear not having a distraction from the real world, or the fears I had looming in my mind.

It wasn’t until I lost my phone for a week that I realized my immense disconnect from reality.

Being away from my phone for just six days made me feel more like a human than I had in six years. Going from a world of quick entertainment and instant gratification to one with an agonizingly unhurried pace was strangely uncomfortable.

How was I unable to function properly in a world that I’ve lived in forever?

It was then I knew I had to disconnect to truly reconnect.

Though hesitant, I deleted my social media accounts. I set a screen time limit. I stopped using my phone for at least an hour before bed.

It was frustratingly hard at first.

I had built up an unshakable habit to mindlessly click on social media apps and unconsciously check text messages throughout my daily routine.

I was angry at myself for getting to this state of dependability, but even angrier at the thought of all the time wasted on my phone.

In limiting my screen time, finally hitting the dreaded delete button and truly committing to a life disconnected from addictive algorithms, I became able to acknowledge the small, or mundane, yet exceptional experiences of life – unplugged.

“It’s important to have time for reflection, and to just be bored,” Hagood said. “We don’t really allow ourselves to do nothing, but it can be a great way to refresh and even to increase creativity.”

Although I’m not, and probably never will be, completely offline, I can now truly appreciate being connected to the world around me.

The media we consume and the technology we use have conditioned us to believe we must constantly be stimulated or connected with one another, through our screens.

In reality, the essence of life is in the ordinary moments of every day: those uncomplicated by incessant technology dings, unnatural intelligence or artificial connection – those spent utterly unplugged.

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reflections reflections a look behind and ahead

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While dwelling on the negatives of the pandemic is easy to do, nearly two and half years later, the question stands: has it held us back or made us more resilient?

For Miami University senior Hannah Indyke, it’s difficult to imagine what college would’ve been like without the pandemic.

Indyke feels it has made our generation more resilient, but at the same time, has served as a time of reflection.

“During COVID, I felt we talked a lot about mental health and social issues. I think, now coming out of the pandemic, or, at least, toward the end, I’m so thankful we all had those conversations.” Indyke said. “Now, we're much more sensitive to one another's personal issues and circumstances that might be holding them back or affecting their productivity.”

Although it's hard to imagine a time when COVID-19 wasn’t present in our lives, we can look back to who we were when we first stepped on to this campus as a student. For some, when reflecting on our freshman selves, it may be hard to imagine who that version was – and if we like that person.

Senior Carson Polish isn’t afraid to admit that he might not.

written by Regan O'Brien When you look in the mirror, there are three different versions of yourself you could see: who you are now, who you were then, and who you are going to be. As another academic year comes to a close, the Class of 2022 is faced with the dreaded question: what comes next?

For most of us, until this point, we’ve had our lives planned out.

For many, now marks the first time we are entering uncharted territory. In an effort to ignore the overhead of “what ifs,” we can take a look back and reflect on our last four years at Miami University – the good, the bad and the ugly.

A core memory for the Class of 2022 will inevitably be the COVID-19 pandemic.

It’s hard to fathom that more than half of our time at Miami has been influenced by the pandemic. We’ve been forced to adapt to a new virtual environment, face the reality that our college experience might not look how we expected and, for some, lose people we love.

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“In the last year, I really discovered that I don’t like my freshman year self. I think the expectations and the complacency I had, as well as the entitlement I had, was really hateful,” Polish said. “Once I started to surround myself with people that taught me that my freshman year self wasn't the best person, I really started to take note of the way they behaved and treated people. I feel as though my character has come a long way from then.”

It’s no question that growth is a fundamental facet of college.

“I definitely think it's valuable to love even the parts of yourself that you don't like. I think it shows who you are,” Indyke said.

“I hope I spend the rest of my life growing and learning to love different parts of myself.”

Through many of our lives, even through college, our so-called “next steps” have been mapped out: graduate high school, go to college, major in something that’s a “smart” choice.

However, upon graduation, we are entering uncharted territory for the first time. A terrifying thought for some, and an exciting one for others.

When asked about what is next to come, Polish’s outlook is inspiring.

photographed by Annie Henrichs styled by Brennen McGill hair and makeup by Weizhen Wang modeled by Hannah Indyke & Carson Polish

“We're at an age where we're old enough to understand and young enough to do something about it,” said Polish. “I definitely want to make sure that I can do what's not only best for me, but for those around me as well.”

To the Class of 2022, here’s to every version of yourself you may see when you hold up the reflective glass. There is still growing we have yet to do throughout the many chapters that lie ahead.

When I look in the mirror, as a senior myself, and reflect on the past four years, this is what I see: a timid 18-year-old girl, searching for a home and place of belonging, excited and terrified of the next four years, but also a 22-year-old girl, who is still finding herself, but confident in the path that lies ahead.

While we might not have had the most predictable or traditional college experience, we had one that taught us great resilience – one that taught us how to adapt to an everchanging world.

However, I also see my future self, who looks back on her college years and is thankful for every experience she had, as she wouldn’t be who she is today without the people she found at Miami University.

As we reflect on the multifaceted versions of ourselves and who we have become in the final weeks before graduation, let us remember our achievements – big and small – the talents we have been able to hone, and the people we can’t fathom our lives without.

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ON DISPLAY editorial 02

photographed by Amanda Schweder styled by Grace Willson hair + makeup by Anjali Duke de Lanerolle & Katie Ellsworth modeled by Faith Baxter, Jason Meggyesy & Ella Robertson

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photographed by styled by hair

The Art of Movement

+ makeup by Julianna Spina

modeled by

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Kaitlyn Lucente

Sarah Oldford Naomi Fritz & Thespina Nail

written by Emma Enebak

another.”

I remember the first time I felt heard.

Even science knows this healing power to be true. According to Harvard Health Publishing, dance is scientifically proven to release endorphins, the body’s “natural painkillers.”

These endorphins, in turn, trigger neurotransmitters within our brain, which can create feelings of comfort, hope, joy, relaxation and power.

I was just 11 years old, arguably too young and naive to even have words worth hearing. But, my message didn’t involve words at all. I was standing on a wide expanse of frozen water in a tiny pink dress. My skate blades had just etched the last echoes of my little story into the ice. To my surprise, tears were forming in my eyes. I looked at the small crowd above me, mostly just a collection of skating parents and ice arena staff. Yet, somehow I knew I had left an impression that was deeper than just sport. That I had just told them a story I could’ve never told with words. A story I didn’t even know I had within me.

That was the moment I realized I had found my language. My form of self-expression that transcended my timid inner self.

My essence.

Movement is the most powerful form of language I’ve ever known. A language unbound by race, religion, time or geography. One that breathes life into messages that exist somewhere beyond words. A language that has existed since the beginning of time and still, to this day, prevails.

To those who have never spoken this language; it has stories worth hearing.

Lisa Zamaripa, former professional ballerina and world champion ballroom dancer has seen, firsthand, the power these stories can hold. Zamaripa would best describe the power of movement in one simple, yet all-encompassing word: healing.

She believes this so fully that in the early stages of her career, Zamaripa went into a home for young teens addicted to drugs and alcohol to do something rather unexpected: to teach dance.

These young people wore their pain all over their faces. Shy and guarded the first few weeks, Zamaripa would come in and salsa dance to an audience of seemingly emotionless teenagers, staring back at her in confusion. But then something amazing happened.

“By week six, they were dancing full out,” Zamaripa said, “it was amazing to see them go from the depth of despair and despondency to full on salsa dancing and interacting with one

These potent emotions are not just healing for the body and the mind, but also for one’s sense of self and identity.

Lindsey Crowley, a dance minor at Miami University, can relate to this.

Describing herself as a relatively shy and introverted individual, Crowley came to find dance as not only a fun activity, but also as an empowering vehicle for self expression.

“Through dance, I have gained more of a voice and autonomy over my body and who I am,” Crowley said. “It is a way to express myself through nonverbal communication, using movement to tell a story.”

If my 11-year-old self knew anything, it’s that these stories do not just leave emotional impressions on the performer, but on anyone that the performer touches in the process.

Zamaripa would best describe it as the performer “giving to the audience.” Exposing their soul, showing the most vulnerable parts of who they are.

Essentially, the performer gives the audience a gift.

A former world class dancer herself, Zamaripa believes this gift will always leave the audience feeling something – maybe even something they’ve never felt before. While it may be aesthetically beautiful and, at times, even awe-provoking, movement is just as much of a feeling within as it is an action outside of oneself. It is art. And art does not exist to simply look beautiful, but to help people feel something.

That’s the secret I discovered through my own movement nearly 10 years ago. Now I know this art can persist long after one’s body is agile and youthful. Long after the performances are polished, pristine and beautiful, this gift can keep on giving so long as one’s body can keep on moving, in whatever way it chooses. This is a gift that anyone can experience.

This is a language that anyone can speak.

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personal spaces written by Nina Schumann A glimpse into Miami University senior and interior design student Sarah Oldford’s bedroom is defined by more than clear indications of her affinity for decor, color palettes and feng shui.

Blended into Oldford’s layered, personal space are flatrimmed, textured coupe cocktail glasses, overflowing with chunky rings, gold and silver jewelry and pearl necklaces, as well as deep, royal blue candlestick holders, glossy, pastel pink mushroom lamps and clear acrylic magazine holders – artistically propping up past issues of Vogue, Bon Appétit and UP Magazine on her wall, neatly in a row, as decoration.

Gingerly placed atop the wired, orange stool beside her bed is a disco ball, reflecting bright squares of afternoon sunlight across Olford’s rainbow grid-patterned rug. Dispersed around the room are colorful chrome candles, metallic green cowboy boots and bread-shaped cork board coasters beneath Mason jars of her daily iced coffees.

Around Oldford’s desk space, there's a concrete cinder block, which has been spray-painted baby pink and now holds a white, matte oil diffuser and cherry red exercise weights.

As arbitrary as many of the decorative, multifunctional objects in Oldford’s personal space may initially be perceived, every item has been carefully selected and staged as a key design component, no matter the size.

“Every piece has a place and nothing is just ‘floating,’” Oldford said. “It was intentionally placed there, or intentionally thought out to be where it is.”

Perhaps most quirkily, hung directly above Oldford’s retro, curved and clear acrylic desk is a framed graphic poster entitled “Periodic Table of NYC Trash.” Just as it sounds, Oldford’s humorous piece of wall art displays a rainbow array of alphabetized, random objects that could presumably be discovered as New York City waste items – a crumpled, orange Reese’s candy wrapper, smashed Colt 45 beer can, orange comb, banana peel and blue latex glove, among others.

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Also delicately hung around Oldford’s walls are green, Y2K trucker hats, Polaroid film photos documenting college friends and memories, and an electric blue, glittery text garland, draped across one of her room’s ceiling corners that reads, “IT WAS ALL A DREAM.” “I really want my room to reflect my personal style, current personality, where I am, the stage in my life,” Oldford said.

“And right now, that means having eclectic pieces, and representing a very young and fun side of college and in my twenties, but in an elevated sort of way.”

Nevertheless, Oldford’s eclectic room is grounded by various neutral, unique vintage or antique pieces – a rich chestnut brown dresser and caned teakwood desk chair – which complement and steady the bold colors and juvenescent adornments that breathe life into Oldford’s room.

“Those things, to me, don’t compete with the small objects,” Oldford said of her neutral antique pieces and simple, white bedding. “My desk is clear, my chair is neutral, my dresser is wood – nothing is overwhelming at the base.”

Oldford said she builds on this neutral base with bold knickknacks and colorful decor to add her personality, make her room feel energetic and show that she’s “still young, playful and developing.”

“I think I try to allow my room to be expressive without having every piece compete with one another, and kind of finding that balance for myself,” Oldford said.

Yet, Oldford’s bedroom furnishings serve a greater purpose than being a mere window into her spirited, personal interior design style.

Beyond her passion for aesthetics, Oldford shared one of her greatest priorities and guiding principles when designing a space for herself is finding a true sense of comfort within the interior.

“Just as much as you get dressed in the morning in something that’s, maybe not predictable, but something that you’re comfortable and confident in is the same as how I see designing my room,” Oldford said. “It’s, ‘Is this comfortable for me?’ ‘This makes me feel good waking up, and I’m excited to be in this space for multiple hours at a time.’”

Earlier this year, just days after moving into her charming, quaint senior year home, Oldford made the decision to paint

her bedroom walls after quickly realizing they failed to make her feel most comfortable.

“My walls were a yellow when I came in, and it just affected my mood in a way that made me not really want to be in my room and, sure, I don’t actually own this house, so, who knows?”

Oldford said, with a laugh. “But, it was something that really bugged me and made me not want to be in my space, and I think I’m the type of person who wants to fix that specific thing if I can pinpoint it.”

Just as a sense of comfort and feeling pleasant within a space is a priority in Oldford’s design process, this same concept served as a calling light to Zoey Howard, a Miami University junior and interior design student, who originally felt gravitated toward the discipline upon realizing the relationship between interiors and human moods or feelings.

“The interior was important to me because that’s the space people are going to inhabit, that’s where they’re going to be spending most of their time and potentially returning every day,” Howard said. “I want to contribute to these environments that feel better for people to be in, that feel like they’re made for the people using them.”

“I really want to get onto that very personal, intimate level.”

According to Howard, human behavior and the way in which interiors impact humans is often a calculated product of much more than what meets the untrained eye. In Design and Human Behavior, a recent course Howard completed, she dove into this connection between people and the many design decisions that contribute to the way in which humans truly feel within a space.

“There are different things like anthropometrics, as in, the measure of the human body, or ergonomics, how we interact with furniture, and there’s proxemics, different cultures, different people’s individual comfort levels with how close things are together,” Howard said. “Some people don’t like being in cramped spaces, some people don’t like being in big, open, ambiguous spaces, and some people want greater distances between each other – so, there are so many individual characteristics that each person has.”

“No one person has the same exact combination as another.

Which, of course, poses a really great challenge to interior designers.”

Yet, as Howard explained, when it comes to designing a

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photographed by Kenneth DeCrosta

personal space for oneself, design decisions can be more directly driven by personal interests, instincts and selfexpression.

“When you have the opportunity to design your own spaces, you still have that internal drive of, ‘This is what makes me comfortable, this is how I want to express myself, I like these colors, I like this organization,’ so, it’s really a palette and, sort of a canvas, for you to find your own preferences for those kinds of things,” Howard said.

Patrizio Martinelli, a Miami University assistant professor of architecture and interior design who earned his doctorate in architectural composition in Venice, Italy, asserts that personal interior design is not only a canvas for self-expression, but, rather, a true extension of ourselves.

“They are the representation of who we are,” Martinelli said of personal spaces. “The home is the place where we represent ourselves, it’s where we collect our things, where we stage them, in order to show who we are. So, the room, the house, the home, is basically a sort of self-portrait, right?”

“Even if we had the same house, same room, same dimensions, your interior will be completely different from mine, because your personality, your story, your memories are there,” Martinelli said. “You have your life represented – it’s part of the experience of the interior.”

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can often unfold as an intimate narrative, unique to an individual – a firsthand story of one’s own essence.

“It’s kind of like a collage or a scrapbook, my bedroom. When I look at my shelves, it’s almost like reading a line on a book.

There’s this whole story I can read – I remember where everything came from,” Howard said.

For some, like Oldford, self-expression through interior design and room decor is a strongly aesthetically driven art form, whereas others, like Howard, are much less driven by aesthetics alone when creating a personal space.

“Sometimes I think if one of my professors came in my room, they’d probably have a heart attack, because it doesn’t necessarily meet up to all design criteria or standards,” Howard said. “There might be shelves that don’t exactly line up with each other, things might not be perfectly designed – I don’t have the resources to do that and that’s fine.”

“It might not be the most aesthetically pleasing to someone who, you know, knows nothing about where these things came from, but they mean something to me. They’re a story to me.”

According to Howard, because her personal bedroom solely exists to complement her and her needs – to serve as a vehicle for her own self-expression – she feels she can lean into a sort of freedom or exemption from the design conventions she is taught to obey in her coursework.

“I definitely think a lot of people get caught up in aesthetics and design, and while my room does have some sort of coherency to it, I like to save the very intentional design for spaces that more people are going to inhabit,” Howard said.

“But, my bedroom – this is mine. This is my space.”

“I see it as: I can be as messy as I want, I can experiment with however I want to arrange my furniture. This is my safe zone, I can do whatever I want in here. I can just take something and put it where I want it to go, and it is purely expression.”

Martinelli, whose formal education and livelihood rest upon such interior design criteria and best practices, also asserts, alongside Howard, there are no rules when it comes to selfexpression.

“In expressing personality, there are no rules,” Martinelli said.

“Everyone has his or her own way of expressing themself.”

When asked what he believes to be the key elements within a personal space, Martinelli outlined two, clear components: “There are two functions for me that are essential, and it’s like an equation,” Martinelli said. “Good design equals utility plus beauty.”

“So, a good design space is functional, you have to create a space that functions, right? And the other thing is more difficult to explain – that is basically beauty,” Martinelli said.

Oldford also maintains the key building blocks that dictate a

personal space, even throughout different ages and stages of life, are often practicality and aesthetics, or beauty.

As a fourth-grader designing her room, Oldford’s bedroom wall colors bounced from green, to pink, to blue paint shades without a second thought for practicality. But, as Oldford pointed out, while we grow through different phases of life, we realize our pivoting needs or expectations for how our interiors ought to function within our shifting lifestyles.

“If you’re in the workforce, waking up every single morning and darting out the door, or if you are working a 9-to-5 in the office, this will probably influence the things in your living room,” Oldford said. “I think, as we mature, we realize what is most practical for our lives and how that will interact with a space as well.”

Just as personal spaces offer a multifaceted collection of purposes that shift with time, they often also can signify great meanings about those inhabiting them. In the eyes of interior design students, professionals and enthusiasts alike, the personal space can serve as a complex glimpse into the private nuances of an individual.

In essence, not only can a personal space represent one’s stage of life, dearest interests and values – an earnest snapshot of an individual during a moment in time – but it can also be interpreted as a liberating, blank canvas, begging for selfexpression, a self-portrait, or an extension of oneself in our purest form.

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photographed by Hannah Daris stylyed by Katie Ellsworth hair + makeup by Chrishay Miles modeled by Orin Edwards, Ahriana Mumford, Patrick Owens & Hailey Zachariah

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We asked Miami University students to share more about their relationship with their bodies.

Names have been removed to respect the privacy of interviewees.

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Timeless Jewels

Today, jewelry can represent all of these things and more. As a decorative art, jewelry is an integral part of how many choose to express personalities, beliefs or tastes. written by Kaya Young The trend pendulum for jewelry swings just as rapidly as it does for clothing. Jewel and accessory crazes emerge and fade with the passing of seasons.

While some jewelry styles are fleeting, others are so iconic or influential they will never go out of style – no matter how much the trend landscape changes.

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Some styles of jewelry have withstood the test of time, lasting through centuries to remain popular today.

But what gives a certain type of jewelry an everlasting effect on fashion?

Elegance and simplicity are often considered key elements for anything to be truly timeless.

How we adorn ourselves with jewelry is a tradition dating back thousands of years.

Delicate pearl earrings, a diamond solitaire necklace and the famous Cartier ‘Love’ bracelet are all pieces that embody simple elegance.

In ancient history, jewelry was once made from shells, bones, claws and other non-precious natural materials. For some cultures, jewelry had spiritual meaning. For others, jewelry became a way to signify an individual’s status in the community.

“The most classic jewelry tends to have pretty simple lines to it. It’s really well crafted,” Allison Sponhaltz, custom jewelry designer said. “If you think about a typical engagement ring, it’s a ring with a round diamond in the middle and four prongs

– but there’s a hundred different ways to make that, and what makes that classic is getting those lines absolutely right.”

According to Sponhaltz, sapphires and diamonds are the defining jewels of timelessness.

Fashion icons and cultural influencers are often known for their well-crafted, yet simple jewelry looks.

“Sapphires and diamonds are durable gemstones, with incredible color and wonderful sparkle. They will never go out of style,” Sponhaltz said.

Audrey Hepburn frequently accessorized only with a pair of diamond studs. Jane Birkin always looked flawlessly chic in a simple gold strand necklace. These looks are widely considered ageless in the fashion world.

She also emphasized the importance of excellent craftsmanship and high-quality materials to create lasting pieces.

Even so, some of the most opulent, luxurious moments in jewelry history are considered timeless as well.

To Sponhaltz, in order to create a truly timeless jewelry piece, one must ensure it is made well enough that “even if it’s worn everyday, it can actually live beyond generations.”

Elizabeth Taylor, whose famous jewelry collection has been echoed in the industry, was magnificently glamorous.

In other words, jewelry pieces that defy the test of time and accelerate trend cycles often offer more than mere aesthetics.

Taylor's lavish jewelry collection included her stunning diamond engagement ring, an assortment of Bulgari emeralds, Cartier ruby pieces and the extravagant gold jewelry shown in her 1963 film “Cleopatra.”

Jewelry attached to certain moments or people hold a weight greater than monetary value. These pieces are passed through generations and used to tell stories about those who once wore them.

Perhaps the great impact of Taylor’s collection was felt due to how she unapologetically flaunted her love for decorative jewelry.

Lockets and engagement rings are examples of sentimental jewelry that will forever be used to commemorate life’s most meaningful moments – making them irreplaceable, or priceless.

Taylor frequently donned pieces she owned on the red carpet and in many of her movies – bringing a piece of her beloved jewel collection with her.

According to Sponhaltz, jewelry with the most personal meaning is that which lasts through generations – timelessly.

Though some jewelry is considered timeless because of its innate elegance, other styles are considered timeless as they were worn by iconic figures whose influence was great enough to make a lasting impact on fashion.

These pieces have become so etched in the fabric of fashion they become staples in the eyes of jewelry lovers.

Pearl jewelry, for instance, has adorned some of the most famed women in history.

Queen Elizabeth I, Princess Mathilde Bonparte, Jackie Kennedy, Coco Chanel and Audrey Hepburn are all cultural icons who have made pearl jewelry synonymous with timeless elegance.

Similarly, the beloved Princess Diana owned one of the most renowned engagement rings in history. Her stunning sapphire and diamond engagement ring has been imitated and reimagined over decades.

photographed by Ivy Richter styled by Kelli Amburgey hair + makeup by Vivian Sessions modeled by Jaylen White

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From Student to Start-up

written by Jason Meggyesy Pursuing entrepreneurial interests is rarely a scripted experience. Whether the idea strikes unexpectedly or builds over many years, seldom do brilliant business plans come from meticulously manicuring every step along the journey.

The field of entrepreneurship is one commanded by many ebbs and flows. Many entrepreneurs are forced to adapt, evolve and find the tenacity to continue when the next step seems unclear.

“It’s definitely a calling,” Mark Lacker, a professor of entrepreneurship at Miami University, said. “Entrepreneurship is the willingness to jump in the arena, try and have the resilience to keep going until you get it right.”

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photographed by Jake Ruffer styled by Ellie Lemanowicz hair + makeup by Natalie Luci & Tory Noble modeled by Ben Boczulak, Gavin Clarke, Mihaela Manova & Grace Moser

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“Entrepreneurship is the willingness to jump in the arena and...

The entrepreneurial experience of trial and error is especially familiar for Miami seniors Gavin Clarke and Ben Boczulak.

origin story with it, for a shared experience to resonate with every consumer.

Clarke and Boczulak met in their freshman year dormitory and became fast friends with a shared vision.

“The porch is the bridge between the home and the outside world,” Boczulak said. “We wanted to highlight this space and bring everyone back to those simple moments that can often be taken for granted.”

Since their first encounter, the pair has gone on to establish Porchies Grilled Lemonade, a beverage company offering a special twist on a classic drink.

While regular lemonade gets its taste from artificial additives, Porchies grills its lemons, naturally caramelizing the sugars within – which works to create a perfect flavor balance between sweet and tart.

“The idea originated from multiple grilled lemonade recipes I had seen over time,” Boczulak said, when asked about their unique product.

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Crafting a strong connection between human emotion and a product gives each brand its own authentic flare and helps to create a bond with its audience.

Consumers are in constant search of something they can identify with, something that feels relatable on some level, and when this need is finally satisfied, they’re sold as loyal customers.

“But, it wasn’t ever something I took seriously until Gavin and I found there wasn’t really anyone taking advantage of the opportunity.”

The search for meaningful brand identity and authenticity are also the driving forces behind startup clothing brands Pyrexene, founded by Miami sophomore, Mihaela Manova, and Beautiful Psychotic, developed from the mind of Miami senior, Grace Moser.

Soon after, the two buried themselves in all things grilled lemonade, attempting to perfect their distinct recipe.

While unique from one another, both brands share a dedication to providing genuine products infused with substance.

“The first batch tasted like charred burgers, it was absolutely disgusting,” Clarke said with a laugh, “it was probably the worst thing we have ever tasted.”

After moving from Bulgaria at the age of seven, Manova discovered her passion for drawing, which now paves the way for her entrepreneurial creativity.

Still, the two kept pushing forward until they finally found the mixture to set them apart.

“I always had confidence in my drawings when I was younger,” Manova said. “Looking back now, they weren’t the best, but, in the moment, I was so proud of my work.”

Yet, for Boczulak and Clarke, the story behind their product was the most important part. The entrepreneurial duo wanted their brand’s name to signify more than the product itself.

This sense of confidence drew the Pyrexene founder toward her dream of designing clothes.

Boczulak and Clarke wanted each Porchies bottle to carry an

Pulling inspiration from brands like Skoot Apparel and

Chrome Hearts, Manova describes Pyrexene as a custom neoarchival fashion brand providing one-of-a-kind pieces for each customer.

Manova offers each client the chance to have hand-drawn, custom designs etched onto any piece of clothing they desire.

“My goal is to create unique, custom pieces that people are excited to wear,” Manova said. “Allowing people to have ownership of the design process is important to me.”

Since beginning Pyrexene, Manova threw herself into her work to provide the best quality product for each person who orders a piece.

Moser’s initial motivations for Beautiful Psychotic were similar. Beginning as a passion project during the heat of the pandemic, Moser admitted to having little knowledge of where to take her first step.

“I literally didn’t even know how to sew at the start,” Moser said. “But, because I didn’t know anything, I wasn’t afraid to go after it and try.”

This fearless, head-on approach toward achieving her goal has served Moser well on her journey.

Since the inception of her environmentally conscious brand, Moser has gone on to release five different collections for Beautiful Psychotic and is currently working on pieces for the annual Miami University Fashion and Design (MUF&D) spring fashion show.

Still, Moser makes it a priority to keep herself grounded in the process despite her quick success.

The Beautiful Psychotic founder said she wants to continue at her own pace, allowing her to produce high-quality pieces and

gain the valuable knowledge needed for her business.

A constant state of learning seems to be a commonality among entrepreneurs.

Perhaps being an entrepreneur is less of a career path and more of a frame of mind.

Traditionally, the entrepreneur is thought to be a salesman, climbing to the top by any means. Today, this definition is tired and outdated, failing to encapsulate the broad stroke of what entrepreneurship can truly cover.

“Entrepreneurs don’t do the suit and tie,” Lacker said. “The entrepreneurial mind sees opportunity and wants to make meaning of that on its own terms.”

Another commonality within entrepreneurship is the misconception that every business has to carry immense market success within its respective industry.

“I think what people have to understand is that you may not always have the $1 million idea at the beginning,” Clarke said.

“It’s about iteration.”

Reshaping the collective mindset around entrepreneurship as a discipline has the potential to excite a generation of inspired, ambitious thinkers to create the unimaginable.

Providing resources, guidance and entrepreneurial mentorship is the first step to materializing this goal.

Most importantly, there must be room for error through opportunity.

More often than not, an entrepreneur’s journey is one of trial and error, great doubts, challenges and moments where one considers quitting their dream. Yet, many find resilience to pursue.

...try and having the resilience to keep going until you get it right.”

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OUT OF

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HAND

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photographed by Sabrina Wrachford styled by Sophia Fujimaki hair + makeup by Weizhen Wang modeled by Sophia Fujimaki & Somnia Keesey

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photographed by Ivy Richter styled by Halle Maskery hair + makeup by Chrishay Miles modeled by Milana Yarbrough & Deanna Hay

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Navigating the Five Love Languages written by Ava Shaffer When observing the world around us, it’s not hard to spot different expressions of love and affection.

Take, for example, the simple romantics of a coffee shop. A milk foam heart, floating in a chai latte, a woman holding the door open for a stranger, friends splitting one blueberry muffin with two forks, a couple holding hands in line and colleagues catching up over steaming mugs.

What do these small glimpses into others’ expressions of fondness communicate about love and connection? What differences, difficulties and preferences in an individual’s love life impact the way they prefer to give and receive love?

One of the ways society has attempted to understand love is through the five love languages. In 1992, author and marriage counselor Dr. Gary Chapman wrote the book “The 5 Love Languages,” which describes the different ways humans often express and respond to love.

Words of Affirmation Words have always been used as verbal expressions of love. For individuals who value the spoken word and verbal confirmation of a lover's emotions and affection, words of affirmation are likely the most important method of a relationship’s communication.

“I have always been a writer and English person,” Stefanik said. “I need to articulate my feelings through words. I live by mantras and expressions, so using words helps me remember a person and what they mean to me.”

Stefanik further explained that chemistry and attraction, for him, come from receiving compliments and witty banter.

“It’s easy to have good chemistry with someone who can make a good pun, like they are writing as they speak,” Stefanik said.

Quality Time There are 24 hours in a day, 168 in a week and 8,760 in a year.

Out of all of those hours, there is plenty of time to spend with a loved one. For people whose love language is quality time, undivided attention is essential.

Miami sophomore and queer man Aaron Chavez expressed that his love language is quality time.

“I like getting to know somebody by spending a good amount of time with them,” Chavez said. “I like getting to know the little things, like the small habits they like to do, the things they like to eat, where they go in their free time. I like being a part of that glimpse into their life.”

“There’s something beautiful about co-existing with someone, and that’s what quality time means to me.”

Freshman creative writing student, Evan Stefanik, shared that his love language is undoubtedly words of affirmation.

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Physical Touch The most common love language is physical touch, which is all about presence and intimacy.

Eleanor Prytherch, Miami junior, discussed how her identity as a lesbian impacts her love language of physical touch.

“Especially in queer relationships, physical touch in front of other people is very radical and carries a lot of important weight,” Prytherch said. “I grew up with a physically affectionate family, so I am comfortable showing affection through physical contact. It shows trust and safety with one another.”

Prytherch elaborated that physical touch can take shape in a multitude of ways.

“Just being around someone you love and giving them a hug, or a partner holding your hand walking down the street means a lot to me,” Prytherch said. “It’s a way for someone to subtly tell you they are thinking of you and care about you in the present moment.”

Acts of Service While romance culture often focuses on grand gestures and proclamations of love, some love languages, such as acts of service, are ruled by greater subtlety. For those who identify with the acts of service love language, affection is more about thoughtful and helpful moments.

Miami sophomore Maddy Evans explained what her love language of acts of service looks like.

“When I am stressed or anxious and someone I love helps me out in a small way, it makes me feel so appreciated,” Evans said.

“For example, when I was in quarantine, my roommate filled her bike basket with my Keurig, Squishmallows and other things I forgot to pack. She biked to me and gave me all of those things, and it made me feel appreciated and loved to be helped out during a hard time.”

For lovers who prioritize acts of service, great affection can be conveyed in simple acts and favors – doing the laundry for a stressed out partner or having a home-cooked meal ready after a long day.

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Receiving Gifts

affirm that love languages are scientific observations.

Receiving gifts is often rooted in a desire to be with a thoughtful partner. When a partner receives a meaningful present, it shows they are being thought of when not around.

However, Farrell notes that love languages are indeed rooted in a desire to understand communication and connection between partners – both platonic and romantic.

“I think a lot of people [identify with] this love language but are embarrassed to admit it,” Lauryn Cook, Miami junior, explained. “People think receiving gifts is materialistic, but that’s really not what it’s about. It’s about someone thinking of you and giving you a gift that reminds them of you.”

“People have a basic human fundamental need to feel connected to one another, and to feel like we belong. But there are different ways [other than the love languages] of communicating and fulfilling those needs, in ways that will appeal to some more than others,” Farrell said.

Cook shares one of her favorite gifts she has received from her boyfriend. “He once gave me a framed photo of a song we saw during a concert on our second date. That really showed he cares and remembers the music and moments that mean a lot to me.”

While deep, romantic connection may not be the first priority on the minds of many young adults or college students, the way we are loved and the way we respond to love has a great impact on other aspects of our lives.

Perhaps the concept of love languages seems simple. Having five clear categories to fall into may make people believe that love and its expression are straightforward concepts.

However, when digging deeper into the psychology behind the love languages, there is much more than the five categories reveal.

Dr. Allision Farrell, assistant professor of psychology at Miami University, provides insight into the love languages.

Farrell stated that love languages don’t have an empirical basis, meaning there isn’t enough conclusive evidence or research to

“Relationship quality is a huge predictor of physical and mental health,” Farrell said. “When we ask people what contributes to their overall sense of meaning in life, we see their close personal relationships, with family, friends or romantic partners, being one of the strongest predictors.”

The university experience is ruled by new surroundings and new friends – unveiling endless opportunities for giving and receiving love.

Thus, when we sit in coffee shops and admire milk foam hearts or couples sharing a blueberry muffin, we are witnessing small, simple actions and moments that often signify something much deeper.

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@thepickleandpig

@thepickleandpig

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photographed by Clare Mazzei styled by Lindsay Russo makeup + hair by Vivian Sessions modeled by Lucy Bierman & Bella Smolsky

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essentials Curating a Lasting Wardrobe written by Mihaela Manova

The key to a robust closet comes from a foundation of basic, timeless pieces – pieces that can be paired or combined with almost anything.

In 1973, London-based stylist Susie Faux opened “Wardrobe,” a boutique dedicated to helping shoppers curate a wardrobe of these versatile, essential pieces. Faux’s specific styling technique, mixing and matching quality basics, helped coin the idea of the highly popular capsule wardrobe.

However, Lemanowicz doesn’t always shy away from clothing items with a hefty price tag. A quality piece that can be worn for years is often worth the higher price, she added.

Showcasing their take on fashion essentials and the capsule wardrobe, many A-list celebrities have been photographed in highly versatile, classic streetwear looks.

In New York, supermodel Kaia Gerber can be spotted out walking with her staple pieces: well-tailored blazers, jeans, and small sunglasses.

According to Harper’s Bazaar, “Assembled with care, a capsule wardrobe is a style ecosystem you can mix and match ad infinitum. Generally, capsule wardrobes are made up of pieces that transcend trendiness: a straight-leg jean, a khaki trench coat, a staple sweater.”

In France, designer and model Jeanne Damas is seen rotating high-quality cardigans with a flowy blouse and espadrilles.

The concept of a capsule wardrobe spread to the United States in 1985, when designer Donna Karan crafted her Seven Easy Pieces line. Her models dressed in simple bodysuits and showcased the seven-piece line through a variety of mix-andmatch ensembles.

All of these pieces are interchangeable in many looks, yet cohesively come together to create classically chic outfits.

Today, large fashion publications and style influencers alike are sharing the ins and outs of achieving and maintaining a capsule wardrobe, which all centers on one priority: highquality basics and fashion essentials.

Miami University senior, MUF&D fashion designer and UP Magazine stylist, Ellie Lemanowicz, shared her take on what fashion essentials mean to her.

“One of my fashion essentials is a nice fitting pair of pants – whether that’s a pair of nicely tailored trousers, or really good fitting jeans,” Lemanowicz said. “When I feel like my pants fit perfectly, it automatically makes my whole outfit feel better.”

Lemanowicz said she often builds her collection of essential pieces by finding high-quality, secondhand items from Goodwill and other thrifting sites, as she states a piece doesn’t have to be expensive to be good quality.

And in Seoul, K-pop idol Jennie Kim pairs neutral toned sweaters with straight-leg pants.

Miami international student Bai Yue Wenhong shares her outlook on how fashion essentials have not only transformed her closet, but also her dressing habits and convenience in constructing an outfit.

“Classic styles can save you a lot of time in the morning, because no matter how you wear it, you can't go wrong, otherwise it wouldn't be called classic,” Wenhong said.

“I used to like to follow the trends and buy some fast-fashion brands or exaggerated clothes, but now I prefer classic styles,” Wenhong said. “Classic styles have more matching possibilities and can be matched repeatedly.”

By investing in a collection of high-quality, versatile and classic fashion garments, clothing consumers across the globe can enjoy both the comfort and convenience of a capsule wardrobe dressing formula – as predictable and effective as a morning routine.

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GROUNDED editorial 05

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photographed by Chloe Masys styled by Alyssa Jones hair + makeup by Anjali Duke de Lanerolle & Tory Noble modeled by Annie David & Alyssa Jones

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LAST WORDS From the Executive Staff

OLIVIA OWENS

GRACE CALLAHAN

ANNIE DAVID

Publisher

Editor-in-Chief

Creative Director

When reflecting on my time at Miami, UP Magazine will always hold a special place in my heart. During my experience with UP, and specifically as the Publisher, I’ve had the privilege of working with some of the most talented, inspiring and creative people that I have ever met. I would like to express my gratitude to all of our dedicated members who have brought this publication that we have envisioned to life.

It has been my absolute honor and privilege to serve as UP’s Editor-in-Chief.

Words can’t express how grateful I am to Annie, Olivia and the rest of the incredibly talented UP team. These astoundingly driven, kind and creative individuals are what make UP so special. As heartbroken as I am to leave Miami soon, I am thrilled to watch UP continue to flourish from afar.

Thank you to the entire staff for dedicating their impressive talents to this publication.

I have met some of the most passionate and driven individuals throughout my time in this organization, and I cannot think of any better way to end my time here at Miami University than serving as Creative Director. It has been nothing short of a dream come true.

As I prepare to begin a new chapter in my life – one full of uncertainty – I am reminded to self-reflect and appreciate the one constant in life – my essence. For our readers, we hope Essence inspires you to do the same – to appreciate the extraordinary and intricate nuances that make us each who we are at our core.

To our readers, through Essence, we encourage you to embrace your inherent beauty and continue to flourish into your most authentic self. Through its creative visuals and intentional, organic design, I hope this issue reminds you that there is nothing more genuine than your own individuality and self-made spirit.

As you read through Essence, I hope that it inspires you to reflect on your identity. Essence embodies all that we are as individuals and gives us the power to create our own special and authentic spirits. As many of us are completing our final weeks at Miami, and as members of the UP Magazine community, we can use the term essence to reflect on our personal development over the past four years. We hope to inspire each individual to have a unique outlook on their own lives in the next chapters to come.

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Now for one final time, we hope you enjoyed the 34th issue of UP Magazine and send you much UP love!

F O L L OW U P

@upmagazinemu

@upfashionmag

UP Magazine

@upmagazinemu

UP Magazine

UP Magazine

upmagazinemu.com upmagazinemu@gmail.com

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