CABRA Spring 2018 by CABRA

C Spring A B2018 RA

Issue No. 5

CABRA Spring 2018

This staff and board would like to thank the following parties for their generosity and aid. Your contributions are deeply appreciated.

I Luv Vintage Beehive Boutique

Dance Across Texas Hayley Wood Lamar Union St. Edwardâ&#x20AC;&#x2122;s University Photo Lab Evidence

Issue No. 5

Lucy in Disguise

MASTHEAD jordyn walker Beauty Director

levi thompson

Photography Director

chloĂŤ royer Style Director

jennifer irving 2

Digital Editor

reilly cardillo Editor in Chief

daphne kokkinis Casting Director

hank holmes

Managing Editor

dominique zuno

Marketing Director

beauty

Karla Flores Syeda Gilani Kristina Mouton Maddie Cramer

writing

Corinne Bates Katie Okhuysen Morgan Hunnicutt

design

C h r i s Pe re z

marketing

D a n i e l a To r r e s Lya Ayarza

photography

Camille Josephine Daphne Kokkinis

2018 STA F F

style

Leandro Alejandro Ta y l o r G a r c i a Kat McCollum

monochrome

Photos by Camille Josephine Styling by Leandro Alejandro, Jacob Gonzalez Beauty by Jordyn Walker, Maddie Cramer, Syeda Gilani, Kristina Mouton Featuring Paloma Ridge, Reilly Cardillo, Hayley Wood Directed by Jennifer Irving

CON a gunslingerâ&#x20AC;&#x2122;s ballad Photos by Levi Thompson Styling by Kat McCollum, Taylor Garcia Beauty by Jordyn Walker, Karla Flores Featuring Jacob Gonzalez, Sydney Mitchell Words by Corinne Bates Directed by Jordyn Walker

not a drop to drink

i spy

Photos by Camille Josephine, Daphne Kokkinis Styling by Taylor Garcia, Kat McCollum Beauty by Maddie Cramer, Karla Flores Featuring Megan Hess

Photos by Camille Josephine Featuring Hank Holmes Beauty, Style and Direction by ChloĂŤ Royer

inherited fashion

metamorphosis

Photos by Levi Thompson Styling by Taylor Garcia Beauty by Kristina Mouton, Karla Flores Featuring Sophie Velasquez, Henry Anthony-Duscheid, Aldo Martinez, Jennifer Irving Words by Morgan Hunnicutt Directed by Taylor Garcia

Photos by Camille Josephine Styling by Chloë Royer Beauty by Karla Flores, Chloë Royer Featuring Alex Villafranca, Aubry Perronne, Abigail Spencer Directed by Chloë Royer

TENTS a girl walks home alone at night 44 Photos by Daphne Kokkinis Styling by Reilly Cardillo Beauty by Maddie Cramer Featuring Nicole Davis Words by Katie Okhuysen Directed by Reilly Cardillo

entertainment Words by Jordyn Walker and Corinne Bates Photos courtesy of Patrick Woodling

LETTER FROM THE EDITOR

Every great, grand, beautiful action stands on the shoulders of those willing to work. Whether it be evident in the passionate global activism that has colored much of our recent political discourse or in the collaborative local efforts to investigate domestic terrorism, there is sacrosanct grace in unity of intention. As it is wont to do, fashion blithely inverted this season’s cultural conversation, placing renewed impetus on identity, in this: the age of identity politics. Highlights range from Burberry Creative Director Christopher Bailey’s triumphant outgoing celebration of the LGBTQ+ community to Alessandro Michele’s reexamination of self-determination in the digital age at Gucci. Prabal Gurung’s supportive incorporation of white roses served as a show of solidarity for sexual assault survivors, while Rei Kawakubo’s investigation of the concept of “camp” at COMME des GARÇONS offered new insight to the design legend’s personal trove of inspiration. They seem like odd bedfellows: identity and collaboration. One would assume that identity’s necessary ego would clash with collaboration’s necessary yield, but in fact, the pair lead a happy marriage. While putting together this issue, our staff was able to curate a culture of intense collaboration because of a reliance on each person’s unique taste and ability, while harnessing a confidence for flexibility. Members adroitly and graciously accepted new roles and duties, most trying their hand at more than one field.

In this issue, we strove to unpack the encroaching pressure of youth through submersion, understand the cultural touchstones of this wild unruly nation through an examination of cowboys, and underline the gnawing anixety that pervades the feminine experience. Your natural balance of levity can be found in a nod to Solange Knowles’ Scales through a celebration of the monochromatic, in a playful reinterpretation of a butterfly’s transformation, or in a very engaging (yet non-copyright infringing) game of iSpy. We also put students under the lens in an effort to articulate the magic of handme-downs. In a way, Issue No. 5 is a keen reflection of those who were willing to work: vibrant, visibly passionate, slightly off-kilter, but thoroughly inspired.

REILLY CARDILLO

EDITOR IN CHIEF

Collaboration has been the sweetest balm for the struggles of this publication. After last semester’s semi-hiatus due to the sudden departures of both our previous editor in chief and our creative director, I was worried that this issue would never come to fruition, much less be the very first CABRA issue to make it to print. I could not be more proud of our talented, dedicated staff, or feel more supported by my visionary board of directors. I want to thank you all for your unmatched creativity and enthusiasm.

MONO C H R O M E

#f97150

#f5b063

#f1bfc3

#9dc2af

#9ac4f9

#9164b5

a gunslingerâ&#x20AC;&#x2122;s ballad

John Wayne is not a realistic depiction of what cowboys were actually like. They didn’t save damsels in distress, or rescue small towns from outlaws. What we think of as cowboys were actually called cowhands. Cowhands were lower class workers, usually single, almost always nomadic, and very frequently in their mid twenties. The term “cowboy” was reserved for drunks and thieves. It was a slur, not a badge of honor. The longhorns they were herding were dangerous, but so were the men doing the job. Although most outfits had rules against firearms, gun fights were a regular occurrence during off seasons. The men would take their meager earnings from their cattle runs and go on sprees of gambling, drinking, and fighting. Gather a large enough group of drunk men with guns, and duels are bound to erupt. Thus, the gunslinger stereotype was born.

This shift in understanding likely has more to do with the terrain in which they lived, rather than the actual men in question. The barren wasteland that is the wild west is the epitome of the archaic struggle of man versus nature. These men are thought to have had a higher level of autonomy because of their nomadism and lack of governmental force in their lives. Government in this time period was small, so it had fewer resources to enforce the laws these men were breaking. Even then, some of the laws we would consider to have been broken did not even exist at that time. The concept of government and how much involvement it needs has evolved a great deal since the heroicized epoch. They lived most of their lives battling each other and their environment, which is a large departure from the man versus institution battle we face now. Fitting into the literary genre of romanticism, cowboys are really just a more uncouth version of the Byronic hero.

Cowboys exist all over the world under different monikers. Gaucho, llanero, and vaquero can all be translated to mean the same thing as what “cowboy” means to us in America. Nonetheless, the American cowboy myth is more prevalent in modern society than the aforementioned version of the cowhand.

cowboy

The dirt covered men in their Wrangler jeans, denim shirts, big hats, and leather boots became iconic. They were the pinnacle of manliness, a living and breathing embodiment of American freedom. Even Marlboro latched onto the popularity of the cowboy image with the Marlboro Man in the 1950s. The company used the inferred masculinity of cowboys to market their cigarettes to men, aiming to combat the brand’s previous feminine reputation and relegation. The Marlboro Man remains lodged in America’s collective memory as a representation of true masculinity.

So why now? The Western as a film genre became popular in the 1930s and made an imprint on maverick culture, but where does this renewed fascination come from erhaps it’s an offshoot of the maximalism trend of the past few years, which pairs well with big cowboy hats, fringe, and embellished leather jackets. But the prevalence of western clothing could be a visual representation of our social climate. Cowboys are the quintessential American symbol of righteous rebellion and we have found ourselves in a rebellious time. Through a pair of cowboy boots and a bolo tie, we may just be trying to foster self reliance.

In Texas, western wear has always been the standard. Now, the cowboy look is making its way into Fashion Weeks, meandering onto the runways of Alberto Ferretti, Chloe, David Koma, Vaquera, Dsquared2, and even Coach. Western motifs in their Fall 2018 collections featured gold plated bolo ties, Italian leather cowboy boots, and silk pearl-snap shirts that elevated the rustic image. A lot more expensive, way less functional, but, clearly in uenced.

NOT A DROP

TO DRINK

I SPY

I spy a yellow crayon, a green bear on a swing,

a construction hat for your head, and a pepper thatâ&#x20AC;&#x2122;s red.

INHERITED FASHION

You can call them “hand-me-downs,” but these students are here to prove that their favorite vintage pieces are much more than that. Whether it’s the wonderment of knowing that a late relative lived their everyday life in a piece of clothing, or the pure comfort of sleeping in a loved one’s worn sweater, everyone has a reason to cherish an inherited fashion piece.

33 “This jacket was my mom’s. She passed away in November, so one way I’ve dealt with that is by wearing her items that she left behind. She was my fashion icon and she’s still the person I look to for inspiration. Her fashion choices were always daring.” Sophie Velasquez Junior

“I like to wear my parents clothes because it makes me feel closer to them. I like wearing my mother’s clothes because I really admire the woman that she is.” Jennifer Irving Sophomore

“I wear these boots everywhere. They’re like my adventure boots. We’ve been to many different places.” Aldo Martinez Senior

“It’s like having a piece of someone else that you get to keep with you all the time. Whenever you wear it you see a bit of them in yourself. It’s like putting a costume on.” Henry Anthony-Duscheid Junior

meta morph osis 39

A GIRL WAL K S ALONE AT N IGHT

HOM E

It is historically difficult to capture the wildly divergent realities men and women inhabit. The quiet background anxiety that pervades most womenâ&#x20AC;&#x2122;s existence is finally being formed and expressed on a large scale. During recent months, a general shift in the cultural attitude towards assault has taken root. Largely due to the work of brave, outspoken women and movements like #MeToo, it is no longer acceptable to victim-blame survivors or call into question moral character based on clothing choice. Even while we are advancing, women still suffer through astounding levels of stress and unease on a daily basis.

The most mundane of experiences are tinged with apprehension and trepidation, whether they involve meeting someone for a first date or walking alone at night. Most, if not all women, have grown accustomed to their realities, internalizing uneasiness into their very being. The sheer strength of anxiety can be unfathomable to those who have not lived through it day in and day out. One form of psychological reprieve comes in the form of role reversal â&#x20AC;&#x201D; creating the hunted as the powerful, the anxious as the fearless, and the careful as the unconcerned. It is empowering to envision a better future. For women, walking alone is often an uncomfortable experience fraught with danger. Reimagining this on new terms and inverting the instance is an exercise in imagining what was once considered an impossible future. The fearful act of walking alone is transformed from a hurried, rushed experience to a stride of liberation and release.

ENTERTAINMENT PATRICK WOODLING by Jordyn Walker

Inclusive, perceptive, and contemplative are all words that could be used to describe Patrick Woodling’s photography. The ability to blur lines between subjects that would not typically exist together in harmony is a concept that inspires Patrick’s art—Alex Olson, a professional skateboarder, serves as an example of this technique, and is Woodling’s prime artistic influence. Woodling began skating when he was 10 years old, which would affect the style and subject matter of his photography in the years to come. Six years later, he began to express himself through photography, using minimal equipment to ensure he could capture the “spontaneity of a moment” before it was gone—lost in a process. The ability to blur lines between separate areas of interest coupled with Woodling’s willingness to capture a raw and organic moment are qualities that set him apart and truly speak to his inclusive and insightful nature. It is clear in viewing his photos that these moments, created by an unplanned series of events, though spontaneous are not without contemplation. Patrick Woodling has developed a sense for knowing when a photo is going to work, using elements such as light and shadow, line, color, and texture to dictate the vocal point within each photo. The artist describes these insights as stemming from “attention to detail and awareness within an environment.”

PR Newman is not a Public Relations consulting firm. They are a local rock band that gets their moniker from the nickname “Punk Rock Randy Newman” given to frontman Spencer Garland during his time playing keys for Berkshire Hounds.

PR NEWMAN by Corinne Bates

It wasn’t until after the record was made that he added Brendon Bond, Jordan Cook, and Z Lynch to the project, “The guys I play with are like my favorite dudes to play with, two of them were in Berkshire Hounds with me, and then Brendon who plays bass has been in like every good touring band in Austin. They’re all just really positive dudes, which is nice.” Though they didn’t have parts in the making of the first record, Garland expressed his desire for more collaboration in the next record even if it may be a little hard for him to loosen the reins, “I can’t really present it how I see the final product until I just do it, which might make me a bad dad cause I’ll just do their science project.” As someone who has been making and recording music by himself since he was a young teenager, this makes sense. Garland, a Dallas native, has been in Austin since 2010. Initially he was in Berkshire Hounds for five years before moving onto being a touring musician. He credits this time for allowing him to become a better musician and learn how to start his own project. His time spent in and around music these past few years has influenced how he listens to music, “I’m not a very picky listener. I’ll listen to anything cause I can find something I like in almost anything” which is fairly evident in the breadth of sounds incorporated in Turnout. He noted his interest in Bob Dylan when he was young, “I grew up obsessively listening to Bob Dylan, which is probably still very evident in my work today.” It is, but so are his roots as a jazz drummer, and his “country phases” as Garland said himself. However, he does not have a definitive answer when asked what his major inspirations were for the album, ““I find myself more influenced now by people’s recording style than I do their actual performance.” PR Newman is a hard band to categorize. They’re rock and roll with some country, folk, and the occasional jazz flare, which is what makes them so fun to listen to. Garland is constantly bending the rules adding a fresh take on classic country rock.

On an afternoon at Seventh Flag in Austin, Garland told me the story of PR Newman. It wasn’t always a full band, “It was sort of a solo project I had imagined for a few years, and then I finally had the time and money to make a record.” Garland self-released Turnout on January 25 of this year. When I asked him why he thought so many more people are self-releasing these days than ever before, he responded by saying “everyone grew up with nightmare stories about labels, which don’t exist as much anymore, but I think people are just tired of waiting around for something to happen and they just want to do it themselves. At least that’s how it was for me.” Fortunately, earlier this month PR Newman got signed by german label Devil Duck Records who will be re-releasing Turnout over the summer.

@cabramag

@cabramagazine

CABRA Magazine

cabramagazine.com