FW Issue 2022: REVERIE

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I S S U E N O. 3 5

FW 2022


in this issue

COVER photographed by Clare Mazzei styled by Ella Salvagio and Brennen McGill hair + makeup by Julia Knoll modeled by Malcolm King

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06 - 07 INTRODUCTION introducing Reverie

40 - 43 T H E G R E AT U N K N O W N

08 - 09 H E A D I N T H E C LO U D S

44 - 47 F R A C TA L S

w r i t te n by A b by Fr i b u s h

p h oto g ra p h e d by C l a re M a z ze i

10 - 15 O U T O F T H E B OX O U T E R W E A R

48 - 49 M O R N I N G DA Z E

p h oto g ra p h e d by A n n i e H e n r i c h s

p h oto g ra p h e d by R ya n S i n g h

16 - 19 T H E M O D E R N W I TC H

50 - 53 I M A G I N AT I O N O N T H E O U T S I D E

w r i t t e n by Ava S h a f fe r

w r i t t e n by Eva n S t e fa n i k

20 - 23 EYES ON ME

54 - 57 D AY D R E A M B E L I E V E R

written by Nisso Sacha

p h oto g ra p h e d by J a ke R u f fe r

26 - 27 I N T H E M I N D O F. . .


written by Jack Sampson

written by Natalie Luci


64 - 65 WA X I N G P O E T I C

written by Alice Momany

w r i t t e n b y R h e s e Vo i s a r d

32 - 35 F I L M R E V I VA L

6 6 - 67 G A L L I VA N T

p h oto g ra p h e d by A m a n d a S c hwe d e r

w r it te n by A n a ka Bret z ke

36 - 39 REM


written by Megan McConnell

from the editors

w r i t t e n by M a d d y Eva n s

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Caitlin Curran

Alexa Hoover

Anaka Bretzke & Ava Shaffer

Fiyin Akomolafe

Caroline Cilley

Bridie Howard

Lucia Amat Ayala

Lauren Harris

Maddie Kazmaier

Kelli Amburgey

Brooke Leibinger

Ellie Levy

Katie Beckman

Madelyn Liedel

Maddie McPartlin

Mary Eisenhart

Erin McGovern

Cole Pittman


Katie Ellsworth

Katie McNamara

Olivia Spencer

Kate Buckley

Sophia Fujimaki

Emely Villalba

Lacey Walker


Ella Zawoyski

Alexa Hoover


Lilly Landenwich


Halle Maskery & Brennen McGill

Ella Salvagio

Maddy Evans


Kate Stevens

Natalie Luci


Megan McConnell

Tia Benson


Jack Sampson

Gregory Engler


Nisso Sacha

Katie Gabe

Julia Knoll

Evan Stefanik

AnnaGrace Harris

Alexandra Leurck

Rhese Voisard

Ellen Long



Max Rionda

Caitlyn Johnson


Elizabeth Maher


Annie Dima & Deanna Hay

Vivian Sessions


Ryan Singh

Sophia Thompson

Gaby Benjamin

Nyah Smith


Rebekah Shook

Mia Brillhart


Adrien Brown


Tia Benson

Katie Ellsworth

Lucia Amat Ayala


Hannah Daris

Ava Hunt

Mary Eisenhart

Jack Kerstetter & Brynn Pierce

Kenneth DeCrosta

Abbie Lyons

Nicole Gonzalez

Katie Gabe

Abby Zielsdorf

Hannah Graham

Abby Fribush & Alice Momany


Deanna Hay

Sarah Holman

Lilly Landenwich

Annie Henrichs


Kate Stevens

Clare Mazzei

Anne Marie Arnold

SJ Weidner


Max Rionda

Emily Bame

Mia Brillhart & Taylor Shockley

Jake Ruffer

Emma Beck


Ryan Singh

Bronwyn Cantrell

'Emily Bame

Emma Kremp

Halle Grant


Elizabeth Maher

Charlotte Hudson

Zach Lawson

Morgan Schramm

Anne Kenny


Jill Rimer

Taylor Slish

Jane McKinley

Annie-Laurie Blair & Sacha Bellman

Ryan Singh

Abby Zielsdorf

Megan Nabozny

BLOG EDITOR Natalie Luci

Marissa Rotolo


Maya Serrano


Kelli Amburgey

Taylor Shockley

Lindsey Brinkman

Jessie Dolby

Nyah Smith

Madeline Buecker

Kaleigh Fogarty

Evan Stefanik

Macey Chamberlin

Hannah Graham

Lucy Sweeney


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Letter from The Editors

I’ve always loved Emily Dickinson. Her famous poem “to make a prairie” goes as follows: “To make a prairie it takes a clover and one bee, One clover, and a bee. And reverie. The reverie alone will do, If bees are few.” When I first heard that poem in a dusty, close-knit English classroom, one word stuck with me: reverie. It’s more than just a dream, it’s an embodiment of the unconscious mind. When we fall asleep, we let go- our imaginations no longer inhibited. New ideas come bubbling to the surface and realistic judgment is suspended for a while. We are free to think and dream without restriction. This issue focuses on how when we dream, we are never truly alone. Our ambitions, our goals, our futures, they’re all interconnected. They all involve community. Witches connect with one another over tarot cards, outdoorsy folk hike with friends through canyons, and businesswomen cheer on each other’s successes. Reverie is about exploring the unexplored, traveling farther than you would while awake, hand in hand with other dreamers. Amanda, Anaka, Kate, and I are so thankful and grateful for the team of dreamers we have had the pleasure of working with on this issue of UP. The people in this organization reflect precisely the kind of community Reverie calls for. Our directors, writers, layout designers, stylists, photographers, videographers, models, marketing, communications, event planning, and digital teams, as well as our amazing readers, have made this dream become a reality.

Dreams are a beautiful thing. They can keep us up at night; motivate us during the day; turn our pain into pages and aspirations into art. Each one of us have our own unique hopes and dreams, along with stories to accompany them of how they came to be. Our minds are prone to wandering, whether it be while we’re wide awake or in a state of deep sleep. A single thought of the wandering mind can even spark a state of reverie. When Amanda, Ava, Kate and I began developing ideas for the theme of this issue, we were captivated by the word Reverie, which stuck with us throughout the entire brainstorming process. We each connected over the idea that our dreams, no matter what they may be, are truly connected, and further, unite us all. Reverie captures the intrinsic human desire to explore our full potential and to reach new heights; mountain tops that were only once dreamed of. Each one of us of UP 4 are forever grateful for this incredible opportunity to bring our vision of Reverie to life. This dream could not have been possible without our extraordinary team of dedicated artists and creatives. To each member of our print team, business and digital department, thank you for your consistent hard work and dedication to both this issue and this publication.

We hope Reverie inspires you to lose yourself in thought and dream outside of the box.

Much UP Love,

Much UP Love,

Ava Shaffer

Anaka Bretzke



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(n.) a daydream; an intrinsic desire to explore unbound thoughts in the wandering mind

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photographed by Hannah Daris styled by Lilly Landenwich makeup by Elizabeth Maher modeled by Sophie Dornsife

head in the clouds Written by Abby Fribush For most of us, going to the airport conjures up thoughts of endless security lines, overpriced snacks and long waits at baggage claim. Nowadays, the airport makes many people think of something a little more fun: their outfit. The concept of airport fashion is not a new trend. It dates all the way back to the Golden Age of Hollywood, when photographers hustled for photos of Marilyn Monroe disembarking her plane in a chic dress or Audrey Hepburn on the tarmac in a glamorous coat. Today, those are shots of celebrities like Gigi Hadid and Kendall Jenner in matching sweatsuits and trendy sneakers. When air travel first became commercialized, it was seen as a luxury that few could afford. According to the travel agency

Skyscanner, a trip from Sydney to London would have been at least $4,000 per ticket today. The means of traveling truly added to the overall experience and wasn’t just a quick part of the journey, so those who did get the chance to fly would often wear their finest clothes and accessories for such an occasion. Though travel has become much more accessible in recent years, it still acts as a sign of social status and mobility. While modern attire has become far more casual, the intentions are still the same with airport fashion – what was once showing off diamonds and pearls is now showing off luxury loungewear. Wearing elevated loungewear is more than just throwing on an ordinary hoodie and drawstring sweatpants. Luxury loungewear blends the comfort of regular loungewear with the elements of quality and style. While it still keeps the overall aesthetic of comfortability, luxury loungewear considers the fabric, silhouette and design more than ordinary loungewear. As a college student at Miami University, junior Lyndsey Carter is thrilled to participate in the trend.

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“When I walk around campus, almost everyone is wearing loungewear. I rarely wear anything else, only if there is an event going on where I need to dress up,” she said. It’s no secret that loungewear is rising in popularity all across the globe. Maria Glasel, CEO of sustainable loungewear brand Aiayu, can attest to this. “People want versatile everyday items they can wear to look pulled together, but also feel entirely comfortable and effortless,” she said. Just in the past few years, almost everyone has spent more time at home than ever before. Lifestyles were flipped completely upside down, and many people didn’t have a need for work or going-out attire. With this came the natural progression of loungewear, and the trend has not come to a stop. “People are wanting to invest in and elevate their homes and everyday lives,” said Glasel. As the world is beginning to have more of an appreciation for creature comforts, the fashion industry is trying hard to keep up with customer demands. Brands that didn’t previously sell loungewear are launching new collections, while existing brands are expanding to incorporate diverse styles that meet this new customer demand. Kim Kardashian capitalized on this trend and created her clothing brand SKIMS, which specializes in shapewear and loungewear that balances comfort and style. Aerie made a new collection within their brand called OFFLINE, which combines athleisure with trendy silhouettes. Loungewear has even made its way onto the runways, which have been brimming with luxe iterations such as oversized knitwear and elevated comfort dressing for several seasons. Even brands known for chic formalwear like Dior have unveiled loungewear collections consisting of pajama sets and relaxed cardigan sweaters. From the runway to the home office to the airport, loungewear is becoming a new normal in fashion. The shift toward rewarding comfortability in clothes speaks to the fact that fashion is an ever-evolving industry, reflective of the times we live through.

photographed by Jake Ruffer styled by Kelli Amburgey makeup by Sophie Mone hair by Elizabeth Maher modeled by Wren Decker and Max Rionda

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photographed by Annie Henrichs styled by Fiyin Akomalafe & Mary Eisenhart hair + makeup by Sophia Thompson modeled by Orin Edwards, Priyanka Navalurkar, Jack Kerstetter, Abigail Van Drunen r,

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WITCH Written by Ava Shaffer (Taurus)

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The Lovers. Ace of Cups. Ten of Swords. The Tower. A deck of 78 cards that each carry deep meaning and offer an opportunity for self-reflection and self-discovery. The origins of tarot cards remains intricate, with ties to Romani, Egyptian and Jewish cultures. Believed to have been popularized in Italy in the 1430s, the images are used in cartomancy to gain insight into the past, present and future. As of late, interconnecting mystical practices such as tarot, astrology and crystals have been increasing in popularity within Western cultures and thus have entered the mainstream. Now, it’s not uncommon to see young people wearing rings of opal, carrying rose quartz in their purse or gifting an evil eye necklace to a friend. Many people have become enamored with the mysticism and magic these practices can bring. Kimberly Clarke (Aries), store manager of Oxford’s very own mystical shop, Wild Berry, has some insight as to why. “I think people are feeling less drawn to and in some cases rejected by some traditionally American spiritual belief systems. Yet people long for the solace found in ritual. To answer this need, people are researching new sources for their spiritual development,” she said.

These sources, Clarke finds, manifest in a variety of ways. Crystals, astrology and tarot are all tools used to connect with one’s deeper self, prompting reflection and exploration to those who practice. Employees at Wild Berry assure that these practices don’t necessarily change the future, but they do provide the means to look deeper into one’s own life. Mystical practices “help us stop and think,” Clarke said. “What is happening in our lives? What is influencing us? How can we change or guide our own futures? Crystal and herbs are often used to meditate, through ritual, on the manifestation of this change.” According to Jessica (Capricorn), an employee at Wild Berry, the most popular crystals at the shop tend to be the more eye-catching ones. Stones such as amethyst, rose quartz and jasper are bestsellers at Wild Berry and are common purchases for college students because of what they represent (healing, love and strength, respectively). The beauty of these practices is in how interconnected they are. Crystals can be used to spread among tarot readings to heighten the power of the cards, and astrology can be used to find which cards and crystals resonate with someone’s sign most.

“What is happening in our lives? What is influencing us? How can we change or guide our own futures?"

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Cecelia Hemmerle (Virgo) sits down for our interview with a pleasant wave of patchouli and a well-loved Rider Waite tarot deck wrapped in a green velvet bag. The junior at Miami identifies as an eclectic pantheist, a member of the world’s largest unorganized religion, believing that every aspect of the world contains its own magic. Hemmerle has been practicing tarot for five years. She refers to tarot as a language, emphasizing how the visuals, imagery and archetypes on the cards can be understood by anyone open-minded enough to begin the practice. Hemmerle believes that tarot is used not to predict or determine the future, but for looking deeper into the self and reflecting on what you find.


‘To me, tarot is a mirror, it’s a microscope. It’s a way and an invitation towards self-reflection,” she said. “It’s helpful to keep track of symbols and messages which reappear in the tarot cards pulled. When you know how to look, they’re impossible to ignore in daily life.”

Although mostly invested in tarot, Hemmerle also enjoys astrology as another tool of self-reflection. Hemmerle’s interest in astrology stems from her belief that her sign, Virgo, represents her well. “My sign really fits for me. I’m a grounded individual, I work hard, and I even look the part,” she said. Clad in a professional sage green cable-knit turtleneck, Hemmerle did indeed appear to match the description of the practical and diligent sign.

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Zodiac signs include images of whether the sun or moon is visible, if there are multiple people present and which direction the figure on the card is facing. All of these subtle images

Hemmerle reveals how astrology isn’t just about your “Sun” sign, or the main sign that shows up when you read horoscopes in magazines. Every person has other zodiac signs (Sun, Moon, Mercury, Venus, etc.) that correlate with different parts of their life depending on exactly where and when they were born. These traits are not an end-all-be-all, instead they

contribute to how tarot cards can be interpreted.

are mechanisms to allow for connection of the self.


photographed by Max Rionda styled by Alexa Hoover makeup by Alexandra Leurck modeled by Ben Rose, Maison Peterson, Cece Hemmerle


"Your Moon Sign is who you are by yourself, who you are in your own mind,” Hemmerle said. “Like for me, I have a Pisces Moon which reflects my intuitive and dreamy internal world. Yet at the same time, I have a Leo Mercury which reflects my social self as bubbly and confident.”

She explains that an Indicator card is a one-card pull that represents who you are right now in life, illustrating your true self at your core. For me, Hemmerle pulled “The Lovers” card, which indicates affection among close relationships.

Everyone can incorporate a moment of magic into their daily lives. For some, such as Wild Berry employee Tracy (Cancer), that is spending as much time as possible in nature. For others, such as tarot practitioners like Hemmerle, that is picking up on patterns found in the cards. Even locations and physical spaces can carry magic in their foundation. Clarke mentions how Wild Berry is blessed most mornings, with specific crystals set out for intentions around the store.

This card made me think about the community within these mystical practices, how it is a positive influence and allure for many practicing individuals. As discussed earlier, many people are drawn to the solace and ritual these practices offer. Hemmerle describes how tarot, astrology, and crystals allow people to reconnect with faith and search for meaning in life.

At the end of our interview, Hemmerle shares some of her patchouli essential oil with me and offers to read my Indicator

“I view the world as a friend, and I have faith in that friendship,” Hemmerle says. “Tarot helps me get there.”

tarot card.

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photographed by Clare Mazzei styling by Lucia Amat Ayala and Brennen McGill hair + makeup by Sophie Mone and Julia Knoll modeled by Brooklyn Leibinger, Brennen McGill, and Yixuan Xie

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Written by Nisso Sacha Expression of the eye is an expression of the soul. Eyeliner, mascara, and eyeshadow can all draw attention to the eyes while adding depth and dimension. According to Discover Magazine, the earliest evidence of usage of eye makeup dates back to 4500 BCE ancient Egypt and was done largely with two minerals, malachite and galena. Ancient Egyptians smeared black kohl around their eyes to reduce the sun’s glare, keep dust from entering the eye and exemplify social status.

Mone began her journey in makeup artistry by watching YouTube videos with her older sister. Through trial and error, she got more familiar with her own face and features. Through her work done with models, she has been able to learn to adapt to people’s unique coloring, undertones and facial features.

Throughout time, the trends of eye makeup have evolved. The fashion revolution of the 1920s kindled the creation of present day eyeshadow. The invention of the eyelash curler in the 1940s allowed for the appearance of the eye to be widened. Sophia Loren, an actress in the 1960s, used winged eyeliner to stretch the shape of the eye outwards. The 1990s brought forth the infamous smokey eye and the minimalist trend of shaping eyebrows into a thin, arched line. As eye makeup has taken on different forms, its most recent has been that of embellishments and bold, sweeping colors. Over the past few years, a bridge has been made between an everyday look and this trend of extravagant makeup. Eye makeup can be highly adaptable, depending on the tone the artist is going for. A winged eyeliner look can add strength to one’s face, while a bold eyeshadow can signify creativity mixed with self-assurance. “There’s a different stance, a different vibe about you when you’re feeling good and out of your comfort zone in a safe way that can be removed with water if need be,” Sophie Mone, director of hair and makeup for UP Magazine, said. Makeup expressions like this can create a sense of security and self-awareness. It’s a way to flaunt confidence while remaining comfortable. “The best thing I did for my confidence was realize it’s not a necessity but it’s a form of expression,” Mone said. “It’s something that is fun and to be played with, something to use to highlight and not something to use to diminish or hide anything.”

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"It’s almost like you’re doing your own little color theory game with every person that walks in the room,” Mone said. “It’s trying to figure out how are we going to complement you so that you feel like a very powerful version of yourself, and feel comfortable, especially if you are in front of a camera.” Through this process, Mone says she has been able to have a new sense of freedom because she is not afraid of failure. Throughout her process, she receives feedback from friends, models and creative directors on photo shoots. “Instilling a feedback loop in my creative process is really helpful for me going forward and figuring out what to do and what not to do,” Mone said. Stella Kinoshita, a first-year art student at Miami University, began using makeup her first year of high school because of cheer. During her sophomore and junior years, she experimented with expressing herself through her eyes and took inspiration from a co-worker that wore audacious eye makeup in a workplace setting. Kinoshita uses her makeup to express herself in different places such as going uptown or simply being in class. “I had to go overboard on my makeup because then I felt better in my own capability to do things and look like I am well-put together,” Kinoshita said. “It’s the appearance of productivity.” Eye makeup can serve as a way to showcase one’s identity. This form of self-expression celebrates fluidity and its roots in experimentation give way to true individualism.

“When I’m bored I might just do a full face of makeup and experiment with other colors that I’ve never used,” Mikayla Mattimore, a first-year student at Miami, said. “Some things that I’ve done in the past, that were experiments, have turned into my staples.” Within this self-expression is also the expression of creativity and personality. A face is like a canvas in which an artist can paint on to emphasize their attributes and beliefs. “The way that I express being an artist is doing colorful eye makeup because that’s basically just painting but on myself,” Kinoshita said. “It’s a good way of self-expression for me because it’s like I made an art piece today, even if it is just my makeup.” The extravagant makeup look is a redefinition of what an everyday look can be. Each purposeful color and shape enhances an intentional part of the eye. “The eyes are really interesting because you show so much feeling and emotion through them,” Mone said. “Playing with a different shape or a different color can cause a different emotion to either come out or a different message to be conveyed.”

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illustrated by Caitlin Curran

Written by Jack Sampson It can be very difficult to feel like an individual when you’re constantly surrounded by thousands of people. Sometimes, people don’t feel that their voice matters or that their dreams aren’t heard. To combat this, we took to the streets of Miami University in Oxford, OH, stopping by Armstrong Student Center and going to Brick Street Bar before karaoke night, in order to give a platform to people’s voices. We wanted to let the statements be from Miami students as a whole, and to accomplish this, we went past the surface. In order for us to truly understand the thoughts of those who wish to speak them, we have to dig deeper. We didn’t want the casual icebreaker or small talk; we wanted those interviewed to pause and think for a bit before responding. The questions were personal because we wanted to talk to the interviewees like they were people. We all dream and aspire for something different, but we also all have different life experiences which is something that must be appreciated.

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ARE YOU CURRENTLY FOLLOWING YOUR DREAMS? IF NOT, WHY? “I am not. I’m stuck living a nightmare” “Yes, I'm doing my best, I think everybody is. I think that at the age that I'm at, a big focus is finding out what your dream is because I think a lot of people get railroaded in a lot of situations. And I don't know, over a recent amount of time I think I've definitely found out what my dream is, what my passion is and what I want to do.” “Kind of, I’m working on it. … Me and my partner are trying to save up money so that eventually we can maybe open up a game store.” DO YOU FIND YOURSELF REFLECTING ON THE PAST MORE OR THINKING MORE ABOUT THE FUTURE? “I find myself reflecting on the past. I think that the future can be so uncertain. A lot of times if you think about it, you can be very anxious and insecure. Whereas with the past, at least you know what happened, or at least from your own perspective it's something that's way more concrete.” “I honestly flipped between the two, a lot, more so reflecting on things. It's definitely like I'm reflecting on past experiences and then how to better future possible interactions.” WHAT DO YOU DO WHEN YOU FIND YOURSELF GETTING TRAPPED IN A LOOP? AND HOW DO YOU ESCAPE THESE LOOPS? “Do something different. Like maybe go somewhere I haven't been.” “Cry?” “I don't know. I don't really think I've ever felt a really genuine loop.” “To kind of break up the monotony of things, I try to shake up the schedule, because even though I am a creature of habit, even routines get kind of brain numbing. … I'll work on some personal project, because usually I try and save those for last because it's like a little reward for me.” WHAT NON PERSONAL OBJECTS OR EVENTS HOLD MORE SENTIMENTAL VALUE TO YOU THAN IT MAY TO OTHER PEOPLE? “Going to Hueston Woods … me and my dad used to go there a lot.” “For me, I think it would definitely be music. Sharing music with other people is probably my greatest passion in life … Singing with friends and family is a very emotional, like personal experience for me. And it makes me the happiest when I can share with other people.” WHO IN YOUR LIFE INFLUENCED YOU TO BE WHO YOU ARE NOW? “My friends, coworkers. This one one right here." (In reference to the person next to them). “I would say my teachers … they were people who I thought looked at me as an individual and really cared about me … and took the time to talk to me … as an individual, not just as another kid in the class, but maybe give me some good things to think about throughout my life.” WHAT IS YOUR MAIN MOTIVATION OR DRIVE THAT IS GETTING YOU THROUGH LIFE RIGHT NOW? “My job, my home life.” “I don't know. I think I just do it because I can. I'm in a situation where it's easy to. The payoff will be better than if I didn't kind of go with the flow kind of thing, life will come to me.” DO YOU FEEL MIAMI LETS YOU BE WHO YOU WANT TO BE? “Yes. I think that as a music student, I take my art, and expressing my art, to heart a lot. And so I thought about going to conservatories and serious art schools. But ultimately, I really wanted the college experience, and so not only having the college experience, but also like the art education that Miami offers allows me to actually show people my art, and I'm not in a very isolated space that I think a lot of kids and conservatories tend to be.” “I would say so. Because I'm from California, and I know everyone and their mother is like: ‘oh my gosh, California be whatever you want.’ … But I think the main difference is big city versus a much smaller town. But even then, I'm always surprised by the unique people that walk around Oxford. It's like everyone is kind of in their own world but not in a bad way. You have people of all flavors and it's actually really fun to see.”

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Written by Alice Momany Jillian Schwab feels the most confident when she is in her underwear. Although not literally, Schwab sews her own 18th centuryinspired corsets. “I wear [corsets] for confidence, and it’s stuff that I’ve made, and I’m wearing it,” Schwab said. “Also, I just think it’s cute.” The corset has been a staple garment since its invention during the Renaissance period in the 16th century and was traditionally worn underneath clothes – hidden from the public eye. Inspired by historical socialites like Marie Antoinette and Queen Victoria, corsets and other forms of lingerie are now worn as outerwear on runways, in clubs, in the office and at brunch. Rebecca Robinson, a fashion professor at Miami University, said the visibility of lingerie is not surprising given its history. “We

do have examples of undergarments that were visible early,” Robinson said. “We have this peeking out of undergarments, especially in women’s wear during the Renaissance.” Robinson said lingerie originated to protect the outer garments from the body. Historically, undergarments such as a chemise would shield outerwear from sweat and other bodily oils. It was generally the only article of clothing to be washed because undergarments were linen or cotton. Typically, middle and lower-class women did not own many different undergarment dressings, but there was a shift during the Industrial Revolution. “Industrialization increased how much clothing we were wearing, how much we owned, the variety of fabrics that we owned, and we got to the point where undergarments changed the shape of the body, like the brassiere,” Robinson said. As lingerie became more accessible for the average consumer,

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cultural stereotypes emerged: brassieres should hide underneath tops, underwear should not be visible and slips should conceal the body under a dress. Beliefs that lingerie is to be worn by women and should not be seen outside the bedroom materialized. Additionally, one of the most arguably significant presumptions is that lingerie should only be worn for sex. During the 1960s, a sexual liberation movement specifically surrounding women took over the fashion industry, and many women rejected wearing undergarments like brassieres and panties; yet, in the 21st century, designers like Schwab are harnessing similar freedoms with the human body by turning underwear into outerwear. "I really like structured garments, and I especially feel that there is some sort of body positivity that can be attributed to structured garments," Schwab said. Despite popular preconceived notions, Natalie Michie wrote in an article for Elle Magazine that a shift in the fashion industry is “demystifying a garment that has long been sexualized and gendered: lingerie.” Michie writes that lingerie isn’t a factor solely for sex, but history has contributed to misconceptions. “Because lingerie has been historically associated with women, it’s long been over-sexualized,” Michie wrote. “The very moniker ‘unmentionables’ implies that it’s a dirty secret we shouldn’t openly acknowledge." Like Schwab, many people wear corsets and bustiers as tops, low-rise jeans with an exposed thong, slip dresses, bodysuits and more. Although undergarments are still primarily made from cotton, the inventions of textiles such as polyester in the 1930s have diversified the way lingerie is made. Today, consumers can buy panties and bras trimmed with lace, silk slips and polyester bodysuits. Before the invention of synthetic dye in 1856, undergarments were usually a natural, pale

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white, but today, underwear is available in many colors. Jaqueline Daughtery, a sociologist and professor at Miami, agrees with Michie about the rooted dispositions of lingerie. “I think a good argument for the basis of why lingerie is about sexual self-expression is because it has a history that’s so related to sexual desire,” Daughtery said. “Whether or not it’s been the desire of the wearer is certainly up for debate.” Daughtery also believes that a modern understanding of lingerie has two views. “I think that lingerie, by many folks that write with a feminist lens, has often been binary in our view of it,” Daughtery said. “On one end, it’s women performing for the male gaze, and that’s why they’re wearing it because there’s a reward associated with that, and then on the other end of it, that’s totally our individual choice.” Daughtery defines feminism as “the idea that equity should be accessible to everybody no matter what.” She believes that the audience is a key factor influencing personal choice. “I think your choice to wear a corset out to a club on Friday night or to your friend’s wedding on Saturday morning depends on the audience that you’re performing for,” Daughtery said. Daughtery also feels the normalization of wearing lingerie outside the bedroom is due to cultural acceptance. “Because the public space has opened more, we’re going to see more diversity in how people are able to express themselves, and it’s not surprising to me that lingerie is one of those ways because sex and gender have shifted so much in the public eye,” Daughtery said. Along with the public expression of bodies, there is a cultural shift in the fictional gender guidelines of lingerie. “For centuries, a man’s shirt was very long, and he didn’t wear underwear as we knew it,” Robinson said. “His shirt would be long enough that he could tuck it between his legs and then put on his trousers, and that’s how he would go about his day.”

The Industrial Revolution also expanded male undergarments with the creation of undershirts to different types of underwear, yet even these standard elements are redefining. Michie calls men’s lingerie a “once non-existent subsect of fashion,” but believes taking gender out of underwear will erase the stigmas surrounding it. “Ultimately, the unisex-ification of undergarment fashion is allowing lingerie to be more accessible,” Michie said. In addition to breaking traditional gender barriers, there has been an increase in the incorporation of size inclusivity in the lingerie industry. With the emergence of brands such as Savage x Fenty, Parade and Yitty, even brands like Victoria’s Secret have increased their sizing to represent the traditional human body. In an industry where nudity is heavily relied on in marketing campaigns, million-dollar corporations such as Victoria’s Secret capitalized on size two models, but as lingerie becomes more accessible, many companies like Savage x Fenty are switching the narrative and marketing for their customers. “There’s been this acceptance for the plus size customer to have more options,” Robinson said. “You can have [lingerie] in a size six, or you could have it in a 26.” Schwab said making corsets that fit her body is the primary reason she feels confident in lingerie. “Wear what makes you feel comfortable and cute,” Schwab said. “If you find a silhouette that you think flatters your body, wear those clothes because I feel more confident and more comfortable as myself when I’m wearing clothes that make me happy.” The expansion of sizing, normalization of gender boundaries and redefinition of bodily freedom has shifted the narrative of lingerie in modern society. Today, undergarments are a vehicle for empowerment in the public space - from the bedroom to a night out. “I definitely think that we are kind of reclaiming that structured shape, and rather than it being something you wear inside, we’re appreciating the beauty in it,” Schwab said. “We are taking a historical garment, and we’re making it something that we wear on the outside.” photography by Katie Gabe styling by Halle Maskery makeup by Sophie Mone hair by Caitln Johnson modeled by Emily Grotjan and Farah Hajjar 31 | FW22

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styled by Brennen McGill makeup by Julia Knoll photographed by Amanda Schweder film developed by Abel Rodriguez (Z41 Film) modeled by Nick Bertrand & Sophia Thompson

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Written by Megan McConnell Darkness falls across the room as you settle beneath the sheets. The minutes crawl. Replays from throughout the day lead to, seemingly, endless tossing and turning until, finally, your eyelids begin to droop. Sleep takes hold of you. Your heart rate and breathing drop, and the mind shifts from light to deep sleep. Here, your body begins to rebuild from and reconcile with the day’s events. As the night progresses, the brain and body slowly reawaken: heart rate, blood pressure and brain activity rise to levels similar to those in wakefulness. However, despite these changes, you remain as still as the night, paralyzed, except for your eyes, which dart back and forth, from left to right, under closed eyelids. This phenomenon is referred to as Rapid Eye Movement (REM) and is the main characteristic of the final stage in the four-part sleep cycle. Paul Flaspholer, psychology professor and director of research and evaluation at Miami University, teaches the sleep cycle in his introduction to psychology class.

divisions of sleep, Flaspohler said, is physiological arousal. “We also refer to [REM sleep] as paradoxical sleep, and that’s because when you measure neural activity in the brain during REM sleep, it looks very much like your brain when you’re awake,” Flaspohler said. In other words, during REM sleep, the brain acts and behaves in similar ways to when one is conscious. According to the Sleep Foundation Website, psychologists hypothesize that during REM the brain consolidates new information into long-term memory, processes emotions, prepares the body to awake and, possibly, fosters brain development. However, Flaspohler disagrees and said the reasons behind REM sleep remain unknown, while other stages of sleep have proven to be more important. “There isn’t [knowledge about] what REM sleep does and whether it’s critical to some function in life or not,” Flaspohler said.

Flaspholer said there are two divisions of sleep: REM sleep and non-REM sleep, which is further subdivided into three stages that range from light to deep phases of sleep. Throughout the night, the brain repeatedly cycles through these periods.

The National Sleep Foundation also mentions potential adverse effects for those who do not spend enough time in REM sleep, such as weakened immune system, deeper pain, inability to grow new cells and/or issues with concentration and mood regulation.

According to the National Sleep Foundation, individuals switch between non-REM and REM sleep, which makes up 25% of the sleep cycle, every 90 minutes.

However, like the purpose behind REM sleep, Flaspholer said there is no evidence of negative effects from a lack of REM sleep, to his knowledge.

But, the main characteristic that separates these two major

“There doesn’t seem to be a consequence to that,” Flaspohler

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said. “They don’t suffer anything from that, whereas if you keep people from sleeping [completely], eventually they die.” Junior Graci Hicks said she tries to prioritize her sleep, aiming for eight to nine hours a night. If she doesn’t get enough sleep, it’s more difficult to wake up and get ready for the day. “It’s a lot harder to get up in the morning,” Hicks said. “That’s probably one of the biggest differences.” Although she admits to coffee runs and afternoon naps, Hicks said it takes time away from her work and affects her motivation. “If I don’t get enough sleep, I’ll want to lay there on my phone, or I’ll reset my alarm a couple of times before I actually get up,” Hicks said. “So, it’s easier to just get up, be productive [and] get in the zone.” Despite the lack of evidence supporting REM’s purpose and impact, it is known to researchers that dreams during REM sleep differ from those in other stages of sleep. “I’ve read a little bit about where there seems to be some qualitative differences in the dreams that people have in REM sleep versus non-REM sleep,” Flaspohler said. “It seems to me like the dreams in non-REM sleep are more mundane … versus having more fantastical and story-based content to them in REM sleep.” For example, during non-REM sleep, an individual may dream of going to school, compared to the moon, which would be a dream more characteristic of REM sleep. Hicks remembers several recurring dreams from her childhood: driving a car before getting her license and her teeth falling out.

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Casey Frazee Katz, a certified EMDR therapist and EMDRIA approved consultant in the Oxford and Cincinnati area, typically uses headphones with a sound that moves between the ears. Although EMDR is traditionally used to treat trauma and trauma-related disorders, such as Post-Traumatic Stress Disorder (PTSD), Frazee Katz said EMDR allows people to work through issues that are “stuck” or on a “loop,” whether from trauma, anxiety, depression or another mental health disorder. Nearly 75% of Frazee Katz’s clients utilize EMDR in their sessions. “When something traumatic happens to us – which could be something on a greater scale [or] it could be something on an individual or personal scale, like relationship issues – it’s like a shock to our system,” Frazee Katz said. “And that causes, maybe, anxiety or sleeplessness or irritability…” Because EMDR differs from traditional talk therapy, Frazee Katz said it’s important that patients know what is involved. Before beginning treatment, she goes through a consent form that outlines what to expect and conducts an introductory exercise, where patients are exposed to EMDR in a neutral or semi-positive manner. “I found that [it] helps people be a little bit more … comfortable because I think, in therapy, someone has to be comfortable to make sure that they can get something out of it,” Frazee Katz said. According to the Cleveland Clinic, although EMDR has been controversial historically, it is now officially approved by the World Health Organization (WHO). Frazee Katz said the therapy offers several benefits to patients.

However, REM is not merely limited to the dream-state. In recent decades, psychologists have integrated the phenomenon into therapeutic techniques. For example, Eye Movement Desensitization and Reprocessing (EMDR) therapy utilizes the bilateral (side-to-side) movement characteristic of REM as a tool to treat mental health issues typically related to trauma.

“Because EMDR works in the way that our brains process, I think that those changes are a lot more gradual and natural compared to other modalities,” Frazee Katz said.

EMDR therapy can look different depending on the therapist. Some utilize a light bar in which an LED light bounces from one side to the other, which patients follow with their eyes. Others use pulsators that patients hold while a buzz moves from hand to hand.

Side to side. Left to right.

In EMDR, your eyes dart back and forth, following the LED light.

Your heart rate and blood pressure rise while you revisit a specific moment in time. As if falling into REM sleep, your brain reawakens, whisking you away into fantastical dreams until all goes still and the cycle begins again.

photographed by Hannah Daris styled by Lilly Landenwich makeup by Elizabeth Maher modeled by Sophie Dornsife

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u n k n ow n The Great

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Written by Maddy Evans A babbling brook rushes by, recent rainfall adds to the stream that sings against rocks and stones. The ancient bark of an oak tree is etched with the history of supporting branches and leaves and students in hammocks. Long grasses dance together, spotted with groups of little white mushrooms and yellow dandelions. These are just a few elements of nature on Miami’s campus, providing a space for students to escape the pressures of schoolwork and reconnect with the outdoors. Just a few miles away, Hueston Woods State Park provides an even more expansive area for exploring. Some students travel further to see the natural wonders outside of Oxford. Charity Daly, a junior and environmental science major at Miami, recently took a journey to Mammoth Cave and Lost River Cave in Kentucky. Daly went to the caves for her hydrogeology course. “I feel like we can all appreciate nature for what it is, and appreciate the outdoors, but I feel like once you learn about specific aspects of it, you kind of take a step back like, I should appreciate this more,” she said about her studies. She and other environmental science majors did just that at the caves. She and her classmates hiked the areas and learned about the geological significance these caves hold. Through experiences such as these, Daly notes the clothing trends amongst the outdoorsy folk: cargo pants, hiking boots, open-toed sandals, and adventure-centric brands such as Patagonia, REI and Columbia.

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photographed by Amanda Schweder styled by Sophia Fujimaki

“Wear clothes as much as you can, until they’re broken,” Daly said. “Until they’re ripped, until they’re torn."

Thick fleeces provide a shield against possible temperature and rains, often in color-blocked earth tones that can easily pair against neutrals. Rock climbers and hikers are often seen in worn graphic tees, possibly thrifted, and Chacos and Tevas, whose thick rubber soles can grip the rough terrain of natural paths. These aren’t just stylistic choices, but also functional, as these clothes are made to both endure the outdoors and stand the test of time. This sharply contrasts the focus on trends and speed of production that run the fast-fashion industry, which is powered by cheap labor and chasing the newest styles. “Wear clothes as much as you can, until they’re broken,” Daly said. “Until they’re ripped, until they’re torn.” Outdoor clothes focus on functionality along with timelessness, as the people buying them expect to have them for many years of adventuring. Although they may be higher in price, they are meant to be kept for years instead of cycling in and out with the fashion seasons. As the president of Zero Waste Oxford, Miami junior Ryan Rosu is dedicated to showing students that these choices make a difference in the world around them. Zero Waste’s mission is to bring awareness to the amount of garbage an individual person produces and provide tips to reduce waste specific to the Oxford community.

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“There should never be clothing thrown away,” he said. “Fabric can always be reused. Denim can be reused. All of these things can be repurposed.” Zero Waste Oxford educates the community on ways to incorporate sustainability into their lives, from saving up plastic bags to composting food waste. They host events such as Saturday morning trash pick-ups and thrift stores in Armstrong Student Center. “Thrifting in general is a much more sustainable way to get clothing because it never goes to waste,” Rosu said, showing their thrifted corduroy pants. Zero Waste also works to build an appreciation for Oxford’s natural resources with events such as hiking on the trails and hammocking on Western Campus. If one doesn’t feel ready to climb up a rock wall or go spelunking in a cave, then casual activities such as these can be a great way to appreciate nature with friends or on your own. Whether someone spends time indoors or outdoors, Rosu explained, everyone has an obligation to care for the world around them. “We’re human beings, and we have a duty to respect the world we live in. It shouldn’t be an option, it should be, this is how we live [...] when you treat the world as something we share, something we’re a part of, instead of something we use, you feel much more grounded.”

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FRACTALS photographed by Clare Mazzei makeup by Julia Knoll styled by Ella Salvagio and Brennen McGill modeled by Faye Sawtelle, Annabel Granger, and Malcolm King 44 | FW221

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photographed by Ryan Singh hair by Vivian Sessions styled by Katie Beckman modeled byMegan Tierney 48 | FW22

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BY EVAN STEFANIK Dreams do come true – even here, from across Miami’s campus to underneath Oxford. Some come to life every other Wednesday night, in between the stone walls of Bar 1868, located in uptown Oxford. Because of the bar’s fairy-lit runway and its basement packed with radiant young adults, one example is drag. Drag is the increasingly popular, highly stylized expression of another gender through performance elements like costumes, wigs and makeup. It involves a transcendent femininity, fit with bold and colorful eyelooks, extravagant jewelry and cutting contours. For drag queen P.H. Dee, performing at Bar 1868 brings back memories. It means a return to her alma mater, where she discovered her passion two years into her graduate program. “I was just kind of doing it for a creative outlet,” P.H. Dee said. “I wasn't really looking for it to be a career or a side hustle.” Since then, she has stolen the hearts of crowds all over Cincinnati. However, she prefers to keep drag as a fun hobby for her nights, so she works as a virtual events producer for a professional services firm during the day. “I think for now I'm happy making a local impact and introducing people who may not have experienced drag to see a show for the first time,” she said. Many experiment with drag once they become a fan of it, including Miami students. Kylee Pauley, a senior theater major and student drag queen, originally picked it up as a means of exploring her gender identity. Now she uses it to refer to pop culture and especially loves performing for audiences around her age.

“I did a number where I was the Fairy Godmother from ‘Shrek 2,’” Pauley said. “It felt like a nostalgia blast for everyone in the bar.” She had her first gig last semester after winning a free booking in an open stage competition. In the future, she hopes to write about drag as a screenwriter. “If it's something you want to say, and it's a message that is important to you, I think you should say it 100% of the time,” she said. “It's very fulfilling to me as an artist to see other people let their walls down.” She promotes “biological queens” like her in drag, which are female rather than male performers in feminine attire. She beats her stage fright by accepting what makes her stand out from the rest of the industry. “I've dealt with being scared of what other people think of me for my entire life,” she said. “But there's a time you have to throw that out.” She unlearned her fear early on when she started as a drag king, or a female performer in masculine attire. She then adapted her style to fictional characters like Harley Quinn and blended cosplay into her drag. It extends as far as the classroom, where Pauley presented a project on theater history in full drag. With it, she advocated for queer representation in contemporary Broadway musicals. “My teacher was pretty shocked, but my peers loved it,” she said. “She, in fact, ended up giving me an A because I took the extra time and was brave enough to illustrate my identity in class.” Pauley knows she can turn to other students, especially those in drag, when she needs support.

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Her story flashes back to a few little wine bars in Athens when she went to Ohio University. She initially performed for the middle-aged townees, including some professors who cheered her on.

P.H. Dee used to ask those questions. Once she became a Cincinnati star, she could instead offer advice to young queens like Pauley.

Upon transferring to Miami, she found her true groove. She has friends at venues like Bar 1868.

“Get ready to invest a lot into the craft, especially at the beginning,” she said. “Get some followers, make some friends and cultivate an image or brand for yourself.”

“Going to Miami, I get to meet fellow queer people within our college community,” she said. “It makes me feel more accepted and a little bit less alone.”

Her stage presence takes inspiration from 2000s throwback pop artists like Lady Gaga. But without stunting or dancing, she has to establish herself in other ways.

She also looks up to successful queens, like The Boulet Brothers’ of “Dragula,” wondering how they do so much and never lose motivation.

“It's the tiny little interactions, like taking someone’s tip and giving them a kiss on the cheek, that gets people on your side,” she said. “It establishes some rapport between the performer and the audience member.” Freshman theater major Caroline Miller watched P.H. Dee’s contagious spirit in person. “What really makes drag is having a good queen MC the event,” Miller said. “When they’re actually engaging with the audience, it makes it so much more fun.” Additionally, she likes a balance of tone in the set.

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photographed by Deanna Hay styled by Halle Maskery and Brennen McGill modeled by Kylee Pauley ( Juniper Jay), P.H. Dee, and Emme Parks (Ralph Waldo)

“It’s best to have someone who's funny and can tell jokes, but also tell you who they are,” she said. Pauley goes farther, incorporating social conversation into her performances. “Drag is inherently political,” she said. “I want to have performances that mean something to people.” P.H. Dee, on the other hand, attributes the majority of her growing status to owning a bold personality. “I think what separates me from others is my drive,” she said. “I really make an effort to seek out opportunities and that comes back to me.” Drag frees her to be whoever she chooses. Underneath all the glamor, the feeling of self-expression transformed the real form of him for the better. “Prior to drag I was relatively reserved,” she said. “[Drag] made me a more charismatic and understanding person. I think P.H. Dee has done a lot for Josh in ways I didn't know I needed.” Drag queens wear their imagination on the outside – Oxford sees only a dazzling reality.

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photographed by Jake Ruffer styled by Katie Ellsworth makeup by Sophie Mone modeled by Ritika Chatterjee, Ella Johnson, and Maya Serrano

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the sky is the limit

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Written by Natalie Luci

Mary Katherine Goddard was the first female publisher in the United States, printing one of the most significant documents of all time: The Declaration of Independence. Bridget Mason escaped slavery and became the first Black woman to own land, turning that small seed of property into a real estate empire in 1884. Oprah Winfrey established herself at just 19 years old as the first and youngest Black news anchor at WTVF-TV in 1973.

Yet Stoel is not alone. Miami University entrepreneurship professor Brenda Homan was in a similar situation, realizing that she had been treated differently. “I’ve always been in a male-dominated space, but… I guess I was just very naive… I never thought that if we were in the same job that one person was getting paid more,’” Homan said.

Meg Whitman took a small startup called eBay and turned it into a massive powerhouse as its chief executive from 19982008. Rihanna launched her hugely successful makeup brand, Fenty Beauty, in 2017 which was recognized by Time Magazine as “one of the best inventions of the year” and established her as the youngest self-made female billionaire. Female entrepreneurs and trailblazers can be found at every corner of history. They pave the way for those behind them, not only proving that it can be done but ensuring that it happens again. The truth is that these women and millions of others experience discrimination, sexism and inequity in the workplace. The same women that have fought so diligently to have female voices be heard continue to face silencing by superiors from salary differences and biases. Miami University marketing and fashion professor Leslie Stoel has experienced this discrimination first hand during her time in the business field. “When I was working in industry … I had men who worked with me who were laterally equivalent to me but were not college educated and they would come to me like ‘How do I do this?’ And I would teach them,” Stoel said. “They were getting promoted and I wasn’t, and so I asked my boss ‘Why did he get promoted? I should have gotten that.’ [He replied,] ‘Well he has a family to support and you don’t.’ And so that’s what I faced when I was coming up. It was kind of the ‘old boy network’ ... It’s very different now.”

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While circumstances may have changed over the years, there is progress that still needs to be made.

For every dollar a man makes, a woman earns 83 cents. According to eLearners, an industry leader in higher education marketing, at this rate, it will take 44 years for women to reach pay parity. Sophia Blasi, a Miami junior studying fashion and entrepreneurship, has created a clothing empire at just 21 years old with $500 in her pocket. She built her brand Urban Luxe from the ground up, first selling thrift finds to family and friends in her living room, to now having customers in all 50 states and five different countries. “I think it’s bullshit,” Blasi said in regard to the gender pay gap. “Another reason I wanted to start my own company is that you get to decide how much you make… However much time and effort you put into what you’re doing then you will get those results.” Despite her astounding success at such a young age, she still faces doubts from those around her and continues to work

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hard to prove herself every day. “I think I just went with this motto of, ‘No one is going to take you seriously unless you show them you’re serious,’” Blasi said. Urban Luxe hugely values female empowerment, as it is female-founded and female-run, accomplishments that Blasi is incredibly proud of. According to The Rockefeller Foundation, a nonprofit organization, women bring different perspectives and ideas to business and to a company, which results in a more inclusive, diverse and successful workplace. In addition, when women are respected, appreciated and represented in their work environments, the result is happier and more effective employees, according to the global consulting firm, McKinsey & Company. Blasi said it best: women have a lot to bring to the table. “I think without that representation, you’re missing out on a ton… There are so many women that are so creative out there [and] these companies need their brains and need their creative sides and they deserve to be shown,” Blasi said. Stoel agreed with Blasi.

“Women are 50% of the population, so it’s only fair… Plus, for a lot of the decisions like shopping for the family, making purchases, some of those big decisions, women in many of those cases are the primary decision makers so it seems like they should be in those leadership roles,” Stoel said. Today, Stoel feels the gender pay gap and gender discrimination still has a lot to do with societal gender roles. “Women have more roles than men to juggle and manage and many of those roles are outside of the workplace… so the woman’s job… is pushed to the side a little more and then if there are special assignments that come up that would increase your visibility at work, you might not be able to take that because of these other roles… In my mind that has a lot to do with why the pay gap still exists,” Stoel said.

Homan’s “secrets to success” for young, aspiring female entrepreneurs: have thick skin and be comfortable with rejection. “If you’ve got something that disrupts, people are going to question it because it’s different,” Homan said. “The people that continue to plow forward, they make changes. They make disruptive changes.” When looking towards the future, Blasi says she hopes women continue to have the confidence to start a business or be involved in leadership roles in business. “The sky is the limit,” Blasi said. “And I think that’s inspiring.”

In addition, there is a lack of regard or respect from coworkers and authoritative figures for women in the workplace. Women who are in power and hold leadership positions aren’t getting the admiration or recognition they deserve. While it is important to push for greater representation, pay equality and gender parity, women must not forget to signify the need for allyship and support from others.

1 in 4 Americans think it is more likely that humans will colonize on Mars than that half of Fortune 500 CEOs will be women. (The Rockefeller Foundation) Despite all of the successful, driven women who have proven themselves time and time again, there is still a heavy fog of sexism that sets over the business field. “Women still, I think, are not as willing to talk over the guys, and you just have to do it, and sometimes it’s uncomfortable until you get used to it,” Stoel said.

photographed by Ken DeCrosta styled by Kate Stevens hair by Vivian Sessions makeup by Sophia Thompson modeled by Kamryn Clark, Treasure Lewis and Amanda Schweder

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UP Magazine


UP Magazine

UP Magazine

upmagazinemu.com upmagazinemu@gmail.com

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c i t e

Written by Rhese Voisard It’s a chilly autumn evening and a full moon looms over the crowd gathered in Bachelor Courtyard. Candles illuminate the faces of poetry enthusiasts as they read their favorite pieces from dog-eared pages and torn notebooks. It’s the Inklings Annual Full Moon Reading – an event anticipated by art and writing enthusiasts across campus. Inklings Arts & Letters is the oldest literary magazine at Miami University. Established in 1991, Inklings has been showcasing the visual art and creative writing of Miami students for over 30 years. The publication is run by passionate students and is known for pieces that color outside the lines and evoke feelings of authenticity and sincerity. It can be difficult to capture the essence of Inklings in a single word. The publication is ever-evolving while trying to discover new facets of creativity in art and writing. It releases a new issue each semester, after many weeks of looking through submissions hoping to be published. “We tend to gravitate towards more experimental stuff, and that’s something that has been long held,” Cassiani Avouris, co-Editor-in-Chief, said. “We search for work that captures our attention in unique ways.” Avouris is a senior at Miami and has been on the Inklings staff since the spring of their freshman year. They were recently promoted to co-Editor-in-Chief alongside junior, Eleanor Prytherch, who has also been a member of the Inklings staff since her first year at Miami.

beautiful art displays. Contributors step onto the stage and share their work with the gathered crowd. It’s an evening of celebration, with fingers snapping after every piece. “Between our magazine and our events, we really try to cultivate an energy that inspires our readers and contributors and welcomes them to share their work in a positive environment,” Prytherch said. Perhaps the aesthetic of Inklings is that it doesn’t fit into just one. The variation in style and consistent chase for art that pushes boundaries creates a unique sort of aesthetic within itself. Inklings advisor, Cathy Wagner, has been working with the publication since 2006 and has seen it evolve and adapt throughout the years. “In my experience, Inklings has been a publication that embraces experimentation, a home for writers as well as visual artists who want to push their own boundaries,” Wagner said. “It’s also a community. Writing might seem like a private activity but it depends a lot on the energy that comes from the community, so Inklings, like the other magazines on campus, is a crucial resource for student writers.” Miami student, Lenore Hardy has been published in Inklings multiple times and was recently hired onto the staff. “Being published by Inklings was surreal, I'd never seen my art printed in a book before,” Hardy said. “And it was next to so many other amazing artists that I got to meet through their reading events. I feel like Inklings does a great job of making a space for all types of creative people to share their passions and projects with each other.” Not only does Inklings give creatives a sense of being heard, but it allows other students to be influenced and inspired by their peers. “Student publications are super helpful towards the creative atmosphere on campus because it's a way for students to show their work to a wider audience,” Avouris said.“Having a publication on campus gives them an opportunity to celebrate their work and also lets other people who aren’t creative majors also still participate in their passion for creation.”

The process of reading through submissions and deciding which ones will be published in the upcoming issue is one that is not taken lightly. While looking through submissions can be a very time-consuming task, for the Inklings staff, it's an honor. Each piece is approached with the utmost respect and appreciation before being voted upon for publication.

It is currently receiving a record number of submissions and has the largest staff it’s had in a long time. But the Inklings community doesn’t stop at the staff. It has a large following of contributors who keep the organization buzzing.

Once the team has gathered the final cut of submissions, Inklings is ready to be printed and shared with the creative community at Miami. One of the most anticipated events of the semester is the Inklings release party held at Kofenya in uptown Oxford. Attendees are greeted with steaming mugs of coffee and a night filled with poetry readings and

Inkling’s following has grown immensely in the past few years, and it continues to flourish. From a moonlight courtyard to the pages of the latest publication, Inklings Art & Letters continues to support the creative community at Miami in all of its endeavors.

“We get a lot of recurring submitters–people who submit again and again and show up to our meetings and follow us on social media,” Avouris said. “It’s very exciting to see how dedicated and involved they are with us.”

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A Walking Tour of European Fashion

Written by Anaka Bretzke

Walking the streets of Florence at dusk, in the midst of the after-work rush, is a sight one can’t help but marvel at. A woman in a green floral dress and bright yellow ballet flats dodges compact cars on her bike, a leather jacket draped comfortably over her shoulders. A man in ripped jeans, green Nike Dunks and a plain white t-shirt smokes a cigarette on the corner. A person in a button down and trousers, perfectly color coordinated, mumbles into their phone as they maneuver through a crowd of lost, wandering tourists. These streets are every fashion enthusiast’s people-watching fantasy. At every corner I look, every time my head turns, inspiration strikes from another’s careful curation of clothing. Inspired, I sit on the nearest bench and watch the fashion unfold before my eyes, seeking out inspiration. The people of Italy are walking, moving, living. They walk and pass one another without a singular thought of what their counterpart is wearing. One creative-sparking outfit passes another. A woman pairs a Dior saddle bag flawlessly with jeans and a plain tee. One person wears a sheer, lace blouse with brightlycolored pants that perfectly complement one another. Another styles an oversized sweatshirt layered with a collared shirt and leather pants.

photographed by Tia Benson styled by Meggie Rasure makeup by Elizabeth Maher modeled by Charlotte Erickson, Amelia Whitney, Christian Radke

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Florence University of the Arts Professor, Cristina Ferro, thinks this effortless, yet luxurious way of dressing in Italy is hard to define, but its role in fashion is more of “a fascination more than a real impact.” Additionally, she mentioned how she “sometimes talk[s] to people from northern countries, and they tend to think that in Italy you can literally ‘breathe’ fashion.”

Ferro also believes that leather – especially paired with silver jewlery – is an essential to any Italian’s wardrobe, whether the occasion is work or a night on the town. “Leather jackets and bold silver jewelry are something that even the most ‘posh’ and ‘sweet’ girl will unexpectedly be seen wearing at 8 a.m. going to her receptionist job,” Ferro said. Streetwear in Italy is like a style connoisseur’s ​​ playground. However, this innovative, intentional street style is no stranger to other European cities. For example, Milan is a more innovative, modern and trendy European fashion capital compared to Florence. Londonnative Ian Griffiths, creative director of the world-renowned fashion brand Max Mara, commented specifically on the style in an article for Vogue, stating: “This idea of presenting your best self – the way you dress, the car you drive, the food you eat, what’s in your home – Italian fashion is all about that.” Europeans prioritize and put intention into how they present themselves. However, the effort in Florentine fashion, and European fashion in general, looks effortless. In Paris, London and Barcelona, everyone goes on with their lives in striking, chic, purposeful styles. Every person looks as if they rolled out of bed in their perfectly curated outfit, threw on a coat and walked out the front door. It's a place yet to be plagued by the sweeping epidemic of American loungewear.

Florence have influenced her style. “At Miami, I usually just wear sweats, and I don’t care as much how I look, whereas here, I put effort into my outfits, and I want to look chic and effortless as well to fit in with the Italian culture,” she said. Although Americans drift toward dressing down, there has been a recent emergence of European-esque style. Influential fashion figures such as Gigi Hadid wear trousers with corsets, loafers with dresses and layer button downs with crop tops and jackets. While it’s not as refined and sensual as genuine European style, American every-day fashion has improved significantly. The places we travel and the people we meet not only influence us, but influence, maybe subconsciously, the way we dress. A person on the streets of Florence in an eccentric jean skirt and a leather blazer; a man in sleek, silver sport coat in Milan; a girl in a leather skirt and a floral button up in France. Seeing the possibilities across the world opens the mind to a new sense of style and new possibilities that before, were unknown. So let the mind wander, take it all in and let a new sense of style sink in.


Italy you can literally ‘breathe’ fashion.”

I sit and ponder this as I continue to watch the crowds of people pass by. A group of tourists passes in front of me, and I begin to notice the stark contrast between the tourists and the locals. It’s exactly what I imagined: they slowly walk and window shop in khakis, Chacos and graphic t-shirts with a belt bag strapped securely around their waist. This forces me to recognize the stark contrast between the style at Miami University, and in the U.S. in general, compared to how individuals dress here. At Miami, it’s typical to see an individual wearing a sweat set or athletic clothes. In Italy, you might get a funny look if you were to wear such a thing. Since beginning her study abroad journey in Florence this semester, Miami senior, Liya Angel, shared her take on Italian fashion versus American fashion, and how people dress in

photographed by Ken DeCrosta styled by Kate Stevens hair by Vivian Sessions makeup by Sophia Thompson modeled by Kamryn Clark, Treasure Lewis and Amanda Schweder

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last words From the Executive Staff





Editor in Chief

Editor in Chief


Creative Director

I joined UP my first semester of my freshman year as a blog writer. Since then, becoming Editor-in-Chief has been a dream of mine. If only I could tell my freshman year self where she is now. It’s been such a privilege and honor to develop this issue alongside Amanda, Kate and the most brilliant, dedicated CoEditor-in-Chief, Ava. Although I’ve spent this semester fulfilling my dream of studying abroad, I truly have never felt closer to, and more grateful for, this incredibly talented community of creatives. Reverie is dedicated to the dreamers: the ones that daydream in class and the ones that fantasize about their dreams in the middle of the night. My one hope is that this issue will be just a small fragment of inspiration for all the dreamers out there.

I joined UP as a freshman and began my time with the magazine as a Marketing Team member. From there, I stepped into two director roles and now have the amazing opportunity to serve as Publisher to all of the team members that comprise our Business department. I have been able to share this incredible experience with Amanda, Anaka, and Ava as we collaborate to ensure this issue is the best one yet! The dedication within the UP community is endless and seeing everyone’s passion come to life first hand has been a true honor. The foundation of talent and trust is what drives our process and what has made Reverie the success that it is. Everyone who reads this issue will be able to experience the joy that was poured into every page.

Reverie embodies everything serving as Creative Director for UP has been for this issue - nothing short of a dream. I never thought when I joined UP as a print photographer my sophomore year that I would be in this position today, but I have grown immensely because of this publication and the creative community it cultivates. I am so grateful for every member of UP for their strong collaboration and willingness to push themselves out of their comfort zones with Reverie. It has been a joy to create this issue with Anaka, Ava, and Kate and foster lasting friendships in the process. To me, Reverie is about possibilities. My hope is that you find inspiration in ambiguity, and find ways to make the impossible, possible.

I began my experience in UP as a blog writer, then a staff writer and now I have the privilege to serve as Co-Editor-In-Chief. I have been thrilled to share this responsibility and joy with Anaka, who even over an ocean away is constantly a powerhouse of creativity and enthusiasm. The inspiration doesn’t stop there. Working with Amanda and Kate closely on this issue and seeing their drive and passion for the magazine first-hand has been a true honor. I am so proud of every member of UP and admire the immense amount of talent our remarkable team has put into these pages. To me, Reverie is about pushing boundaries and trusting your intuitive thoughts. When you read this issue, I hope you are inspired to do exactly that.

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UP Magazine


UP Magazine

UP Magazine

upmagazinemu.com upmagazinemu@gmail.com

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photographed by Clare Mazzei

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U P M A G A Z I N E F W 22

To make a prairie it takes a clover and one bee. One clover, and a bee, And reverie. The reverie alone will do, If bees are few. - Emily Dickinson


I S S U E N O.


illustrated by Madeline Buecker