CONTRAST
VASSAR COLLEGE FALL 2024
LETTER FROM THE EDITOR
welcome to contrast’s 33rd issue. i’m your editor-in-chief, and i want to take you on a little journey between the pages.
have you ever explored all the past contrast publications? (you should if you haven’t, it’s super easy, just go to issu.com/vassarcontrast.) spanning from 2007 to now, contrast has done everything from twee to galaxy print, athleisure to more athleisure (what’s up with that?), and wedges to corsets. there’s a lot to discover between those pages, reflecting 17 years of how vassar students have interpreted what contrast is over time.
ur lovely executive board has spent the past six months using this collection (a digital archive perhaps) to orient, and in ways, rebrand contrast in an image representative and imaginative of these 17 years. what does contrast look like? how does it engage with vassar students? these questions have never had clear answers, but maybe that’s the point. all the playfulness and kitsch aside, contrast’s true core quality has been its fluidity. it’s an incredible archive that records more than just what the org was up to across all these years. expanding on this collection, we document our own time here at vassar, but in the language of garments, accessories, and articles on fashion and style.
so, what does this issue have to offer? it might be a bit bold to say, but a bit of it all. from throwbacks to our very first issue, to things the pages of this magazine have never seen before, we kept it on brand in exploring all this archive has to offer. i hope you enjoy this cherished issue, we sure had a blast making it.
#staychicforever
yours truly,
carissa kolcun
DAMU UNDER THE DAMASK
DAMU UNDER THE DAMASK
Emma Rodriguez-Gooch shot by Kate Li
Indra Hernandez shot by Kate Hsin
Photographed by Leo Kogan
Photographed by Leo Kogan
Carmen Haley shot by Jade Hsin
Photographed by Jade Hsin
Photographed by Willow Grote
Photographed by Kate Li
Photographed by Kate Li
Photographed by Willow Grote
Photographed by Willow Grote
Photographed by Kate Li
QUEER BOTANY
AN EXCERPT OF A CONVERSATION WITH GARRET GOODRICH ‘23
Carissa Kolcun: Maybe we could start with the herbarium and queering the archive, because you digitized the herbarium. Do you wanna talk about what that project was?
Garrett Goodrich: I’m happy to. That project was actually my first foray into botany. It was an URSI project, and there was me and Alison Carranza digitizing together. He’s retired now, but [he was] the botanist at Vassar at the time. He got a wonderful grant to take us all over the Hudson Valley digitizing these, somewhere between small and micro herbaria.
In some cases, it was just 1 or 2 cabinets in a room, in a field station that hadn’t been looked at in 25 years. We went through with our traveling set up, and we digitized front to back these really, really small herbaria, which is really atypical. Usually, digitization is done in huge collections, like the one that I’m working in now [California Botanic Garden]. And it takes many, many, many years, but Alison and I were able to do four [collections] entirely and they contributed to digitizing Vassar’s [herbarium].
I think the work that’s probably most lasting from that is during the summer, we were struck by the visual quality of herbarium specimens because sometimes they’re just gorgeous. Like, stop you in your tracks, gorgeous. Not all of them, but certainly some of them are. And so we made this
little folder called “pretty”.
We would take specimens that stopped us, make a copy of the photo and put it in there. It started as just, we like these. Then we started having a lot of them, and we were, like, oh, we should do something with these. And then we talked to our advisor, and he was, like, oh, definitely do something with these.
So he proposed to us curating them in some sense. We curated them into a show, a 12 specimen show, which last I saw was posted in the basement of the bridge.
That’s kind of the work [I did] at Vassar and my love for the visual dimension of herbarium specimens. We started with this premise of plant archives, pressed plants as an access to look at the intersection of art and science.
Well, we have this set that we love. Let’s send them to scientists and artists and get feedback. And Alison and I had the weirdest time because we made this Google form, and scientists and artists refused to engage with it in the same way. Scientists were giving us numeric values and giving us very quantified statements. And then the artists were, like, we kind of reject the premise of this survey in its entirety.
CK: You talking about archives, and these [herbarium specimens] as the intersection of art and science reminds me of
my art studio classes: beauty and sort of the chasing beauty or making something that’s beautiful is a practice of resistance. There’s more in this with ideas like adornment which go into self-making.
I have two questions: One is about an idea of queering archival spaces. Maybe we can go a bit more into what is queer theory? I don’t like defining queer theory because queer theory is anti-definition, but how do you apply queer theory to an archival space?
Second, is how ecology, plants, and environments are art makers, and how we can, in our practices, co-work with them in making art.
GG: The first thing I thought about when you were talking was a quote from Banu Subramaniam. She had a book, Botany of Empire, that came out this year. So you have this question about what does it mean to queer an archive? The intro or prologue to Botany of Empire ends with this line: “History is telling. We need multiple competing unresolved, fragmentary, shattered, partial, and contradictory tales. Rather than a singular story that history tells, if we open up the archives to ask different questions, other answers lurk. These are also telling, and tell them we must.” For me, that’s kind of the crux of queering a botanical archive. I wanna get in there, and I wanna ask all of the wrong questions, all of the weird questions, all of
AND THE ARCHIVES
the questions that have been pushed to the side because there’s so much in that pushing to the side that is worth queering. You really get a sense of diversity and power through time when you start asking questions of the archive that are wrong or atypical.
Then this other question that you asked about how to learn from plants, I think is so much bigger than art or aesthetics. Right? We are living in a changing world. I think we have a lot to learn from plants about how to be respectful participants in this changing climate.
CK: I feel like there’s a bridge between those two things because in your thesis, you have the section on the Linnaean system of identifying plants, which is the standardized terminology of how plants are named, but it’s also this system that honors white men and their relation to plants, and erases all these other relationships to plants that have already existed or existed before.
Normative history wants to apply one name or definition to a thing. Queer theory is about how that doesn’t work. That things can have multiple definitions, and all of those things can be true at the same time. All those relationships can be true.
In that frame of language, I was also really interested in how you broke down the word
conspire to with breath and this idea of conspiring with plants. Because to me, it relates a lot to speculation, how Black historians are speculating in the archives. There’s this sort of intangible thing that you’re having a conversation with.
GG: Absolutely. I love the jump you’ve made from me talking about learning from plants to conspire. That comes from, in part, Natasha Myers, who I was thinking about when I was talking about our need to learn from plants. In my thesis title, I use planthropocene, which is her term.
The article that she wrote, it almost reads like a manifesto, talks about conspiring with the plants to build more livable worlds, which is certainly what I’m still thinking about and talking about. Then jumping from there into a tradition of speculating histories that are erased functionally with a strict archival view of history.
I’ll back up a little bit to give some context about Herbaria. Generally, I love Herbaria because they’re archives that attract people that love plants, but also people that love art and people that love history, because these archives are tasked with holding the history of our field in a really specific way, but they’re incredibly visual. Like, my advisor here [at Claremont Graduate University] had a first career as an artist before she fell in love with herbaria. And now she’s a
well-decorated scientist, and advising me in grad school. Her background as an artist is something that we talk about constantly because she’s just such a visual person, which is an important backdrop for her love for Herbaria.
But then she was giving a talk at a conference about prominent women botanists in Southern California, they were unsurprisingly all white women who had some access to institutions. We’ve been having a lot of conversations, me and her, about how to give credit to the people that contributed to the archives that we’re building our research on that didn’t have the same keys to power. Like, field assistants are ubiquitous in botany. There’s very little historical recognition of their contributions to our archives.
Right? And so it’s really, really hard to, without using a framework that has been developed by black feminist historians, to access these narratives that are essential to building our archive as we use it today. I’m telling everyone here to read Wayward Lives because I think that that is a perspective that we desperately need in botany right now. Thank you for picking up on that.
Garrett Goodrich ‘23 is currently a graduate research student in botany at California Botanic Garden, home to the Claremont Graduate University Department of Botany.
ENLIVENING
AN ARCHIVE: THE 2024 CONTRAST FASHION SHOW
WILLOW GROTE & WYATT KELESHIAN
At the beginning of the semester, when we proposed the theme Archival, we knew we wanted to create a show that was in dialogue with the past looks from the magazine. As we began looking through each of the issues, we came to realize that each shoot, each look, and each spread was an echo of the time in which they were shot.
Vassar, while we often consider it a bubble, indeed echoes the broader fashion world with the help of the Metro North, @ watchingnewyork, pinterest, and our hyper fixation with fashion month. Although we may look back at some issues and wince at the sight of skinny jeans and ankle boots, we still remained on-point as our issues explored fashion at that moment.
We have, in a way, become a sort of archive, a look into the recent past of fashion, not just from the shows of Paris, London, New York, and Milan, but of what people were wearing on campus, everyday, to class, to parties, to the Deece. So, with this show, that is exactly what we wanted to explore: our development as a publication. We sought to look back as a means of looking forward.
line of fashion since our inception in 2007, and ending with our view of the future, the Vassar student in 2061.
Vassar Student 2024
Jorts. Sambas. Moody. This is the Vassar student of 2024, the person you see walking down the street and think, they definitely went to Vassar. We asked ourselves, what is quintessentially Vassar? Do you agree?
Each of our looks not only reflect the Contrast issues of the time, but also the shows, popculture moments, and aesthetics of each season. They tell a story of Vassar, and of Contrast, and of fashion.
With the contributions of the Fashion Show Committee and the Style GB, we put together fifteen looks, starting with Vassar today, moving through the time-
Fall 2007: Volume 1, Issue 1
“Our first issue, but also, I think, one of our best. The cover shoot was moody and grungy but also sleek and silky. Grey was definitely the color of the season and I drew inspiration from looks from Thom Browne, Marc Jacobs, Michael Kors Collection, and Miu Miu.”
- Wyatt
Fall 2008: Volume 2, Issue 1
“Plaid will never go out of style, but it had the spotlight in 2008. Layers upon layers with just the right amount of prep. As Mrs. Priestly would say: Burgundy… for fall… groundbreaking.”
- Willow
Fall 2009, Volume 3, Issue 1
“‘09 was moody but also a bit ostentatious. Our issue captured this well in the lighting, there’s a real ‘cabinet of curiosities’ vibe going on. I looked at Mcqueen and Lagerfeld’s Chanel of that year to
Photographed by Sadie Hammarhead
Photographed by
Sadie Hammarhead
gauge the runway and everything was pretty monochromatic.”
- Carissa
Spring 2009: Volume 3, Issue 2
“Spring 2009 was pretty sleazy, a little trashy, and definitely glitzy. So, for this look, I drew from one of our earliest shoots which centered around people getting ready to go out. Short hemlines, trashy in a chic way, and glitter defined not just Vassar during this era, but the fashion world as a whole.”
- Wyatt
Fall 2010, Volume 4, Issue 1
“Wool was definitely the material of the season: thick scarves, bulky coats, and sweaters were layered in hues of grey and black. Twee was the word on everyone’s lips. Tumblr was on the rise. Times were good.”
- Wyatt
Spring 2011: Volume 4, Issue 2
“I was obsessed with the idea of sheer fabrics, puffed sleeves, lingerie, and a headpiece, kind of giving the effect of a sexy lamp! The biggest inspiration was John Galliano’s collection which was to die for.”
- Maria
Fall 2012, Volume 5, Issue 1
“The one word I would use to describe this look, this season, and this issue of Contrast is ‘crisp.’ The colors are muted and cohesion is key, bridging on business casual.”
- Willow
Spring 2013: Volume 6, Issue 2
“The denim-on-denim look reflects this trend’s longevity. From Ralph Lauren in the 80s to Y2K Britney and Justin to the Vassar campus today, denim-on-denim has remained a camp subversion of the narrative of a denim-wearing, all-American, Wild West.”
- Talia
Spring 2015: Volume 8, Issue 2
“‘15 took us to space. The shoot was in the Jetson Lounge, and it was silvers and teals, and the page was laid out on Galaxy print… Anyway, the runways had a very mid-2010s look, in that fashion didn’t really know where it was going. Strong silhouettes pinched at the waist and at the same time monochromatic silver slips. It was an interesting year.”
- Carissa
Fall 2016: Volume 9, Issue 1
“I was interested in layers, a flowy silhouette, and a fun pattern. 2016 definitely had some interesting patterns in trend and we tried to take inspiration from that with a more modern take.” - Maria
Fall 2017: Volume 10, Issue 1
“I took inspiration from the iconic ‘Out of the Blue’ shoot, photographed in the varsity swimming pool. The use of color was central to this look, and I referenced the resurgence of bright playfulness and jewel tones in Tom Ford’s and Emilio Pucci’s Fall 2017 Ready-to-Wear Collections.”
- Willow
away from reflective fabrics or distinct silhouettes.”
- Willow
Vassar Student 2061
‘What would the Vassar student be wearing at our bicentennial?’ is the question we asked ourselves while developing this shoot. Streamlined, edgy, sleezy, and bold, the Vassar student in this new age is both mindful of the past and forwardthinking.
From this venture into our past, we hope to continue Vassar’s interconnection with the broader world of fashion. This microcosm here on campus is distinct, creative, and ever-evolving.
Spring 2019: Volume 12, Issue 2
“The school girl-inspired look plays on fashion and popular culture’s timeless fascination with representing the ingénue. In the past and present, we see fashion icons like Madonna and Miuccia Prada for Miu Miu reclaiming features from the schoolgirl uniform (kilts, knee-high socks, loafers, etc) for a fun and empowering play on a historically fetishized symbol.”
- Talia
Spring 2022: Volume 15, Issue 2
“Big, Bold, and Bright. The ‘Dinner Party’ shoot reflected the lavishness and decadence of Spring 2022 fashion. Designers like Schiaparelli and Jean Paul Gaultier did not shy
Photographed by Willow Grote
Photographed by Sadie Hammarhead
INTO THE ARCHIVE
Lance Diaz shot by Amelia Kemp
Nikko Ramos shot by Jade Hsin
Mariam Towobola
shot by Willow Grote
Linh Le by shot Amelia Kemp
Caleb Di Bartolo shot by Willlow Grote
Norah MaeMiller shot by Amelia Kemp
Maria Milovanovic shot by Willlow Grote
Gratz shot by Jade Hsin
Jyotsna Naidu
shot by Jade Hsin
Iris Kimball shot by Jade Hsin
Finley Greene shot by Amelia Kemp
Maya Lopez shot by Jade Hsin
Lucy Strandquist shot by Willow Grote
Nikolai Jerrard shot by Amelia Kemp
Gloria Strettell shot by Amelia Kemp
I’M JUST A GIRL:
GIRLHOOD COMMODIFIED
LINDSAY SHIH
Fashion has always reflected our collective cultural consciousness, what we’re paying attention to, and what we’re aesthetically striving toward. Bows, silks, and all types of lace have become defining images of a new aestheticized girlhood, or the “coquette” aesthetic. Many see it as a rejection of what’s commonly asked of women, to “dress your age.” But is this new resurgence of girlhood aesthetics an act of self-infantilization or an act of resistance?
Designers like Sandy Liang and Simone Rocha draw from elements of girlhood in their collection – playful, exaggerated femininity. Frills, puffed sleeves, and varying shades of baby pink dominate. This aesthetic can be viewed dialectically – what invokes innocence and calls for simpler times is simultaneously commodified and packaged as a trend. Genuine attempts by designers to recall a period without worry or care are usurped by money-hungry advertisers and parent companies to be sold to the masses. In tapping into this nostalgia, the fashion industry plays directly into a larger cultural ideal that intertwines youth with desirability and worth.
The idea of “dressing your age” is linked to similar ideas
of innocence as beauty, deeply rooted in patriarchal expectations of womanhood and girlhood, a narrative that idolizes girlhood as a uniquely spectacular period in life. In many ways, girlhood is unique and spectacular, but patriarchy presents it as the only time in one’s life that is weird and wild and
wonderful. Women are often socialized to conform to stereotypical age standards, reflected in their sartorial choices: high necklines, sharp tailoring – markers of maturity. But Liang and Rocha challenge this notion with their subversive takes on girlhood.
Liang’s collections hinge on combining dreamy elements and plush textures with recognizable silhouettes
(i.e. a uniform jumper, mary janes). Her designs communicate a new, nuanced version of girlhood – that femininity can be confident and playful, not strictly ornamental and for someone else’s pleasure or benefit. The work embodies an active girlhood, a girlhood full of agency, distinct and separate from the passive roles often ascribed to girls. In Liang’s world, girlhood is granted the space to be complex, fun, and fierce, all at once, directly rejecting any one-dimensionality that may be thrust upon it. Girlhood, as
seen in Liang’s drop-waists and puffy skirts, is not a fixed concept – it’s giant puffer jackets and sweetheart necklines, it’s chic slacks and giant scrunchies that look like flowers, soft-knit polo dresses and chunky earrings – it can be re-styled, re-shaped, and re-worked to challenge normative gender expectations. Rocha’s work takes on a different kind of girlhood, blending romantic, girlhood-evocative
Sandy Liang Spring 2024
elements (frills, peter-pan collars, ballet flats) with gothic and occasionally sinister aesthetics (platforms, corsetry). Her couture also actively rejects the idea of the “passive” woman with its voluminous silhouettes and exaggerations of form; it isn’t about recreating innocence or youthfulness. It’s about layering softness and strength, that girlhood isn’t just about an aestheticized innocence, but about struggle and defiance, a critical and emotionally complex turning point in one’s lifetime. The result is a captivating aesthetic thread that underscores much of her work, both critiquing and celebrating notions of girlhood, and most of all, rejecting the idea that women and girls must conform to the word “delicate” as their defining characteristic. In strategically employing elements of girlhood in her clothing, Rocha challenges the idea that girlhood and femininity must revolve around sweetness and a soft sort of passivity. Rocha’s work shows that girlhood is a multilayered experience, not flat and one-dimensional, as
outlets like Brandy Melville would like it to look. Rocha’s use of bows and lace, ribbons and frills, comes from a position of wanting to empower.
The thing is, the girl-
hood-as-sartorial-choice discourse is not dominated by two indie-ish designers. It is a cultural discourse dominated by romanticized videos on TikTok, purchasing guides for what’s been labeled as the “coquette aesthetic.” The entire aesthetic has become in-
ness of this aesthetic comes down to this: being a woman is not perceived as “fun.” Being a girl is “fun.” And fun sells. The rapid manufacturing rates of “accessible” clothing like H&M commodifies these genuine expressions of girlhood, reducing it to a whimsical aspiration, a purchase instead of an art. There’s a lightheartedness, a flirtation with freedom, that isn’t encumbered by social responsibility. But at the same time, there is an eerie undertone, a seedy, slimy exploitation that makes this kind of carefree pleasure highly marketable. Fun is marketable. And brands who play into this exuberance, this whimsy, tend to infantilize women to make not just the fashion, but the girlhood lifestyle desirable.
[T]he pervasiveness of this aesthetic comes down to this: being a woman is not perceived as “fun.” Being a girl is “fun.”
credibly culturally pervasive, so much so that huge fashion retailers (H&M, Zara, you know the ones) are taking advantage of it, removing the multi-dimensional elements of Liang and Rocha’s work, flattening these subversions for profit. And the pervasive-
In a world with constant access to a 24hour news cycle, a world that appears to be increasingly turbulent, can we really blame ourselves for wanting to return to the glimmering vision of girlhood in our collective cultural nostalgia?
JEWELRY IN SOUTH ASIA
SIGNIFICANCE ACROSS TIME AND CULTURE
Sumehra
Huq, Areebah Aziz, Rabiah Aziz, Rayan Shikari, Mihika Hete, Rajveer Singh, Malathi Kalluri
Walking through a mela from my hometown, I scan the multitude of stalls with different parts of my South Asian culture and identity on display. There are shalwar kameez, saris, kurtas, and all types of jewelry and accessories, ranging from jhumkas, churiyas, tikas, payals, and bindis. Nowadays, the selection of South Asian jewelry is vast, with a multitude of colors, styles, and types of jewelry for different occasions. Amongst the mela, I see forms of art from all over South Asia, taking me back to the memories and meanings they hold, like making rangoli and painting diyas during Diwali, creating patterns on my hands with mehndi before special occasions like weddings and Eid, and embroidering South Asian clothes with jewels and flowers to depict vivid images. Just as our art holds cultural significance, South Asian jewelry is no exception; our jewelry is art, telling stories of our heritage, culture, and history.
A Glimpse into the Past Jewelry holds great significance in South Asian culture as it connects our present to our past. The Indian subcontinent has a deep history going back to the Indus Valley Civilization, one of the oldest known civilizations in the world, from which early evidence of jewelry-making such as semi-precious stones, silver, copper, bead necklaces, bangles, and head ornaments have been discovered. After that era, jewelry from the Vedic Period (1500- 500 BCE) is known to be closely associated with religious beliefs and social status. Gold was considered auspicious and held spiritual significance at the time, a belief that stands in the present among South Asian cultures; some
necklaces, anklets, and bangles were, and still are, believed to bring blessings and protection. During the Maurya and Gupta empires, royals adorned themselves with gold, pearls, and precious gemstone jewelry, introducing class and status implications to distinct types of adornment. From
“During Navratri, it is a tradition to wear silver oxidized jewelry.”
Dimple Kangriwala ‘25
“Jewelry is a powerful and diverse catalyst for community building and as an art form that can be economized for displaying resistance against oppression in the world.”
Z, Co-Founder of Jewelry Making
700 CE to 1500 CE, distinct regional styles and techniques in jewelry making emerged, such as the Deccan craft of Bidri, inlaying gold and silver in intricate patterns in dark metals. Later, in the Mughal era, South Asian jewelry became a blend of Persian, Central Asian, and Indian jewelry styles, with
designs including intricate floral patterns and large, ornate pieces with gemstones such as emeralds and spinels. More recently, colonial rule in India brought European styles and techniques which blended with traditional designs. During colonial rule, jewelry was not only an art, but an expression of resistance to colonial influence and a symbol of cultural identity.
Bridal Jewelry
South Asian weddings are elaborate displays of South Asian culture, with detailed clothing, wedding traditions, and grand jewelry.
Jewelry is extremely significant during South Asian weddings, when brides adorn themselves with bridal naths, tikas, and extremely detailed jhumkas, necklaces, and churiya. Many pieces of bridal jewelry hold symbolic and spiritual meaning, such as the mangalsutra, which is worn by women to symbolize marital status and is believed to provide protection from the “evil eye” and ta’wiz pendants, which contain protective prayers and are worn to safeguard their new journey. Not only do traditions surroun ding South Asian jewelry connect us to our ancestors and
their spiritual beliefs, but they also foster connections among people today. In many South Asian subcultures, soon-to-be brides are gifted sets of jewelry from their family in-law, which are often preserved and passed down for generations, welcoming the bride into the family. In particular, gold in India, Bangladesh, Pakistan, and other regions within South Asia, is a popular wedding gift, as women are gifted gold jewelry not only because of its beauty, but also because of the long term growth of the investment. Historically, gold jewelry was used as a part of dowries, when the bride’s family would give the groom property or jewelry. This tradition began as a way of providing the bride with an inheritance and protection, but over time, evolved into a monetary transaction. Today, South Asian women have resisted and distanced themselves from these antiquated customs, utilizing their ownership of jewelry as a method of claiming financial independence and social security. Bridal jewelry is only an example of the representations of heritage throughout South Asian culture, as wedding jewelry traditions carry historical, cultural, and emotional significance, but are also ever-changing and being shaped by newer generations.
Societal Status
In South Asian culture, adorning oneself with copious amounts of jewelry indicates prosperity, influence, and wealth. In addition to daily wear, jewelry is worn as a status symbol in significant ceremonies and rituals, such as festivals, weddings, and religious events. The Ambani family, for example, recently garnered abundant media attention when Neeta Ambani, a prominent philanthropist and businesswoman, wore a $7.5 million emerald necklace at her son’s wedding, highlighting the magnitude of the Ambani family’s wealth and reinforcing their influence as the wealthiest family in Asia.
Beyond social status, jewelry also serves as an emblem of cultural roots and identity. For women in particular, gold jewelry is an integral part of cultivating social standing in their communities. These adornments serve as representations of the transition into womanhood as well as a tribute to a broader cultural heritage. The amount of jewelry a woman wears can also determine her marital status, as unmarried and widowed women tend to wear subtle, lightweight accessories, while married women don themselves in bold and heavier pieces.
Conclusion
Across all regions in South Asia, jewelry serves to unify individuals through its cultural, personal, and religious significance. South Asian jewelry is far more than an adornment; it is a living testament to the region’s diverse traditions, identities, and spirituality, serving as a bridge between the past and present. It unites cultures, communities, and families within South Asia, preserving generational wealth and providing a safety net for women in times of hardship. Jewelry is a timeless art form brought to life through the intricate craftsmanship of artisans across South Asia, meant to tell stories of resilience and cultural pride. South Asian jewelry today continues to preserve historical symbolism while simultaneously evolving with modern norms and traditions, highlighting the dynamic nature of jewelry and its ability to transcend time.
“ ...ourjewelry is art,telling s t o r i e s fo o u r h e r i t a g e, culture, and history.”
EXCESSORIZE
Siena Wong shot by Jade Hsin
Ingrid Munezero shot by Jade Hsin
Photographed by Jade Hsin (top) and Amelia Kemp (bottom)
Photographed by Jade Hsin
Photographed by Amelia Kemp
Sophie Shulman shot by Amelia Kemp (left, top right) and Jade Hsin (middle and bottom right)
Photographed by Jade Hsin
Photographed by Jade Hsin
Otto Lannert shot by Amelia Kemp
Photographed by Jade Hsin
Photographed by Jade Hsin
2024
NOT PICTURED
Carissa Kolcun Editor-in-Chief/ Treasurer
Wyatt Keleshian Creative Director
Willow Grote Creative Director
Brianna Tran Style Director
Emma Raff Style Director
Sadie Hammarhead Social Media Director
Maria Shansonga Social Media Director
Blades
LAYOUT TEAM
Sofia Abrahamson, Miranda Chen, Emilia von Lilien Brockmeyer, Maya Egrie, Alani Rey, Sasha Moskalyova, Trevor Picanco, Rebecca Sherber, Claudia Weisman, Audrey Wood
SOCIAL MEDIA TEAM
Molly St. Claire, Gabriella Maniatis, Alana Kramer Gómez, Iris Kimball, Ella Sheidley, Ysabella Floro, Brendan Kennedy, Alani Rey, Arianna Thomas, Claudia Weisman, Mikayla DaSilva, Jordan Block, Leah Nowak, Guneet Hanjra, Caroline Robinson
Leta
Beauty Director
Jade Hsin Photo/Film Director
Lily Tarrant Model Director
Cai Hellman Layout Director
Amelia Kemp Photo/Film Director
Maria Milovanovic Model Director
Photographed by Amelia Kemp
