TIME CAPSULE
SPRING 2019
TIM E C A PS U L E Letter from the editor: A time capsule is collection of objects typical of a current generation, buried with the intention of discovery in the future. With this issue, I asked the DAMchic team, if you were to put something in a time capsule, what would you choose? Creating a time capsule begs the question, what defines today? What do we want to remember, and what do we want to forget? Who will open this magazine years from now and what would we like them to know? In fashion, culture, beauty, who and what reflects the spirit of the present world around us? Time Capsule Spring 2019 captures a moment and the moment is right now. A year ago, I saw DAMchic for what it could be—something greater than just a print magazine. A team member once told me, “DAMchic is the one thing worth sacrificing my Sundays for,” and this couldn’t be closer to the truth. To me and so many others, DAMchic has been a creative home away from home, a diverse network of students who thrive through the expression of self through fashion. During my time at DAMchic, I’ve worked to create a space for incomers to freely share ideas with no judgement, with the collective commitment to never stop pushing each others creative limits. Over the years, the team has pushed me just the same. Sacrifices, difficult conversations, learning new things, making mistakes, learning from mistakes, continually depending on those who’ve supported me, and never giving up. Time Capsule 2019 marks the blossoming of DAMchic. This organization has touched the lives of so over the years, and one thing remains true: DAMchic is more than just a print magazine. We are community and you, who are reading this, are a part.
ANDREA MITEV ED ITOR IN CH IEF
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THE TEAM
EDIT O R IN C H I E F A N D R E A MITE V
A S S I S TA N T E D I T O R O L I V I A H A R BAND
L E A D PHO T O GR AP H E R M I T C H E L L J E NS E N
DE S IG N E D I T O R M A R A W EE KS
DIV E R S IT Y & C O M M UNI T Y O U T R E AC H PA I G E P H ILLIPS
E V E N T CR EATI VE L E AD JESUS REYES
E V E N T CO O R D I NAT O R M E A G H A N E VANS
BR A N D CO M M UN I C AT I O N S C H L O E KE HN
R O M A N C OHE N E M M A J O HNS TON
C O NTR I B U TI N G DI R ECTOR S
M ODELS
CORAL AVERY YVET T E CHAU ROMAN COHEN MEAGHAN EVANS SIENNA KASKE OL IVIA L ANGL EY JESUS REYES L OGAN HOW EL L SARAH ROGERS KEAT ON SPRINGER JESSICA T HOMPSON JENNIF ER DIRST INE ZAHRA JOSEPH MCKENNA ZANDECKI CHL OE KEHN VICKI L IANG
ROMAN COHEN L UIS ACOSTA MEL ISSA MORRISO N SAVANNAH JACKSO N ANDREW ST EWART GHERMANIE AL L EN GABE W IL L IAMS CHARL ES OKONKW O DANIEL A VARGAS AL I EBRAHIMI AL EXIS SUAZO ADAM RAT EB T REY W EBB NICHOL AS L IN COL E GIBBS KOL ADE SAL AUDE EN RANDY SARUN MAT EO OL MOS JAMARCUS GRAN T DEVAN T URNER QUENT IN ONYEMORDI WALT ER CHANG NEIL DESHMUKH EMMA BOW DER L IBBY MORGAN NATAL IE CORNEJO AMNEET SINGH ISADORA COSTA CAR DO SO HEVANI F IF ITA BEL EN GARRIDO GENESIS HANSEN ANMOL PREET KAU R ISABEL NÚÑEZ PÉREZ MIXT L I RODRIGUEZ CA RDO SO REINE MESSINA SIENNA KASKE MEL ISSA ALVARE S MEL ISSA L ARA EMALYDIA F L ENORY AME MAÑON-F ERGU SO N AMANDA KURT Z
PHOTOGR A PHER S CL AIRE NEL SON CORAL AVERY YVET T E CHAU L OGAN HOW EL L MIT CHEL L JENSEN OL IVIA HARBAND SIERRA JOYNER AL L ACEY RAE MA SAF I NABIL AHMAD JACOB L AGMAY
F R EELA N CER S TAY LOR BARRON LANIKAI YAT OMI J O CARST ENSEN RYAN NEL SON
BAKR SAL MAN JEF F REY W U EMMA JOHNST ON JAYCEE KAL AMA
Photo by Yvette Chau
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table of contents TAKE CARE
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ENCHROMA
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EXUBERANT MINIMALISM
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Y2K
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COPING MECHANISM
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IGNORANCE IS BLISS
3D
FEELIN’ MYSELF
CLEAR CONSCIENCE
FOR FRANK
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BEAUTY
FASHION
CULTURE
12 36 34 16
SPOTLIGHT
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take care. Beyond three strands, how hair styling culture creates strong bonds within black communities. D I R E C TION & WRITIN G : Z a hra J os eph PH O T OGRAPHY: Olivi a H a rba nd
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GOOD VIBES (left to right) Models Andrew Stewart, Ghermanie Allen, Melissa Morrison, and Savannah Jackson bond over music and memories.
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W
hen people first think about getting their hair done they think of salons, barber shops, expensive prices, and sometimes long waits. But in the black community, we think of other memories; sitting at the knees of our mothers, fathers and loved one’s, waiting countless hours to get a style done. Connecting over hair maintenance and braiding techniques builds unity and embraces a historical culture. Having loved ones style our hair is a shared experience that creates meaningful bonds. “Growing up, my mom did my hair. I am very close to my mom and i would consider her my best friend,” said Melissa Morrison, a third-year psychology student at Oregon State. It can take several hours to get the job done correctly, the meticulous segmentation of hair and the challenge of braiding each section as close to the scalp as you can. “It can be a lot to maintain sometimes. When I would get braids before I cut my hair, it would take between 4-8 hours depending on the style,” Ghermanie Allen, a fourth year business administration student said. Reminiscing of these times, maintaining our natural hair has a special sentimental value.“My mom always did my hair. Both cuts and getting braids, ” Andrew Stewart, an OSU alumni said. “I love how my hair feels and looks everyday, it motivates me to set it as a priority,” Stewart said. “What I love about my hair is that
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it’s versatile. I could do so many different things with it if I wanted to,” Allen said. For men, it’s generally the same. Personally, I do not have many men in either side of my family besides my father but he always shaped up my sister and I’s hair, even to this day.
“I love how my hair feels and looks everyday, it motivates me to set it as a priority.” -Andrew Steward, OSU alum Black hair is different and requires constant maintenance. “My hair becomes dry very easily. On days where comb out my hair in the shower then do a wash and go, it takes at least two hours.” said Morrison. All of that being said, our hair is something to be proud of and will hopefully be normalized in the future. But for now, this is how we take care of our hair. There are many ways to keep our hair moisturized, soft and healthy, that being said; we can’t trust just anyone to style our hair. “Growing up I had cousins that would do my hair for me. My aunt, my mom and other beauticians that I knew” says Allen. In addition to strengthening family connections, braids serve as an outward manifestation of self-acceptance and self-love for many black individuals.
IT TAKES TWO
Savannah Jackson
helps adjust durag on Ghermanie Allen. Tan SUPREME crewneck and blue jean jacket from Suite Zero.
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En Chroma
D I R E C T I O N & WR I T I N G : M e a g h a n E v a n s PH O T O G R A PH Y: M i t c h e l l J e n se n
IMAGINE BLACK AND WHITE
What if we only saw in black and white? Red roses would be black blue skies wold be white and green trees would be some kind of grey in between. Color is how us humans express our emotions and without it, what would we feel? Happy- black. Angry- white. In love- some kind of grey in-between. 10
TIMELESS HUES
Roman Cohen (right) and Luis Acosta (left) wear clothing from Beekman Place Antique Mall.
IMAGINE COLOR
Color defines a time, a place, a feeling. The right mixture of white and red can evoke a sense of strength and elegance, as seen in Degas’ Dancers in Pink (1885). A dark teal can be mysterious and commanding, exemplified in Giorgione’s The Tempest (1508). Color is an expression with so many options to choose from. It has been with us since the dawn of time and it will stay with us until the end.
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#3DTAKINGUPSPACE Dancers of 3D pose united on the steps of the Memorial Union.
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DAM - DIVERSE - DANCE WR I T I N G : S i e n n a K aske S T Y L I N G : P ai ge Ph i l l i ps PH O T O G R A PH Y: Yve tte C h au
A closer look at the womxn on a mission to defy Western ideals of sexuality, gender, ethnicity and race through female empowerment and dance.
3D is filled with a diverse group of womxn that
challenge society’s expectations of how we perceive femme identified people. The dance group has been on campus since fall of 2018 and has disrupted the status quo of Oregon State University through dance, empowerment, and community. Dancing is a technique used by people of all identities to heal and connect with their culture and community. 3D was created for those reasons; culture and community. Being at a predominately white institution, it can be difficult to find your home at Oregon State, but the womxn in 3D are cultivating that home through dance. The dancers of 3D use their bodies as a way to express themselves as art and as resilient beings. Their energy and livelihood is empowering in and of itself, but watching them dance evokes the feeling of empowerment. EMPOWERED WOMXN 3D captains Genesis Hansen (left) and Havani Fifita (right) with founder and director of 3D, Isadora Costa Cardoso (center).
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W H AT D O E S E M P O W E R M E N T LOOK LIKE TO YOU? “Fierce. Fierce. Empowerment is unapologetic with this group, it’s in our eyes, our voice, our stance. Empowerment is unity and making eachother shine as bright as we can.” Genesis Hansen (pictured pg. 13)
Third-year student majoring in english and philosophy
“Defying the barriers that are imposed on us for our entire lives not only on this campus, it’s growing up within our cultures, and the gender barriers that are imposed on us. It’s claiming who we are, that way no one can sexualize us, no one can take that away from us and it is owning my own body. It’s much more than dance, it’s for queer womxn, migrant womxn, black and brown womxn, there are so many layers to us.” Isadora Costa Cardoso (pictured pg. 13) Fourth-year student majoring in political science international affairs
“When we live our truth fearlessly and we stay true to ourselves and maintain our integrity.” Belen Garrido (below)
Third-year student majoring in public health
“We have made 3D an environment where we, as women of color, can be ourselves and be accepted for who we are. Even though we are all beautifully different, we also relate to each other in many aspects of our lives. We are always there for each other whether it’s a hardship or a celebration. They are my family. They make me feel at home.” Anmolpreet Kaur (above)
Fifth-year student majoring in biohealth sciences
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W H AT D O E S 3 D M E A N T O Y O U ? “3D has provided me with a safe platform to fully express myself and continue to explore my own sexuality through dance. We refuse to conform to societal standards by portraying a message through every song we dance to. It’s important for us to break eurocentric beauty standards and not conform to them. 3D means unity. Dancing with a diverse group of smart young women, who share similar values and backgrounds, has allowed to become more confident and continue to break stereotypes about our individual cultures.” Mixtli Rodriguez Cardoso (left)
Second-year student majoring in biohealth sciences
“The [dance teams] I have been on have been predominantly white and I’ve been the only black girl on the team where I’ve had to straighten my hair and the dancewear doesn’t match my body type, skin color and that was pretty traumatic, so to be in a space where I can just be myself and be around girls that look like me and not have to worry about my skin color, body type, my hair is really special and unique space for me” Hevani Fifita (pictured pg. 13)
Fourth-year student majoring in philosophy
“Womxn of color supporting womxn of color and having people in your life that support you. It’s a lot of emotion, Being a part of people like me and just doing my thing with them and being appreciated and original. Isabel Núñez Pérez (above)
Second-year student majoring political science
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for frank
C
hristopher Breaux; an influential artist, songwriter, singer, producer, and photographer, better known as Frank Ocean. A man with endless talent pours his heart and soul into his music starting from mixtape, Nostalgia Ultra to his most recent album, Blonde. Ocean’s work encapsulates his life and experiences that almost anyone can relate to. The elusive artist gifted Blonde to the world, four years after Channel Orange. The album dives deep into remembering the past, growing up, and dreaming of the future.
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D I R E C T I O N , WR I T I N G & PH O T O G R A PH Y: Yv e t t e C h au
I thought that I was dreaming
when
you said you love me The start of nothing
I had no chance to
prepare
I couldn’t see you coming
--Ivy by Frank Ocean
Ivy, the second track within Blonde, kicks off with the opening lyrics mentioned above reminiscing about a love that wasn’t expected. The song explores what it’s like to grow up and make mistakes in relationships. Although Ocean’s
love interest within Ivy doesn’t have a happy ending, the feelings deep down are still good. In four minutes and nine seconds, Ocean reminds the listener that life comes at us fast, before we know it, the moment has already passed. 17
Pink + White is the third track on Blonde and goes in depth with memories from Ocean’s childhood in New Orleans, Louisiana. The song highlights a person that was once close to Ocean who passed away. The lyrics describe how this person showed Ocean ways to enjoy the after effects of Hurricane Katrina by jumping off milk crates into the flood lines and other summer activities. More importantly this person showed Ocean, as a child, how to love.
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That’s the way everyday goes
Every time we have no control
You showed me love
The rest of the album goes on to paint a picture of what Ocean has encountered as well as detailed moments that capture our present. Ocean features his mom in “Be Yourself” as she talks about college students and how they shouldn’t be someone else because they are good enough.
Ocean also includes a skit about how social media ruined his friend’s relationship in “Facebook Story.” Blonde includes the work of numerous talented artists and even touches on social issues. The songs, audio messages, and skits represent our generation and how we are still growing up together.
Glory from above --Pink and White by Frank Ocean
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Ignorance is Bliss
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D I R E C T I O N & WR I T I NG: C h l o e K e h n PH O T O G R A PH Y: R a e Ma
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No one reaches for the newspaper when they want to lift their spirits because news can be a bummer, and it can also be deceiving. So what is better: to be blissfully ignorant or to be grounded in reality?
HEAD IN THE CLOUDS Model Alexis Suazo wears a vintage sky blue skirt suit, portraying strength and professionalism.
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N
ews is everywhere. And it has changed over time. While newspapers and cable TV may have thrived 20 years ago, they aren’t quite as relevant for everyone today. Social media and online platforms have captured this generation, serving as a new way to read the latest headlines. Regardless of where you get your news from, media outlets are constantly throwing stories at you. Every headline is meant to grab your attention. “The way that media has formed in such a digital way, it’s easy to pick what you want to hear about because you’re the one that’s going after it,” said Sydney Dolan, an Oregon State University junior in digital communication arts. Although global news can sometimes be hard to hear, people rely on different media platforms to keep up with what’s going on in the world around them. According to Dr. Dan Faltesek, professor in new media communications at OSU, “Everybody needs some kind of information. Psychologically we think about it through a construct called surveillance needs. There are some people who really just need to know what’s going on.” Since there is such a large array of media sources, knowing where to look and how to know if what you are consuming is true can often be an issue. . It’s no secret that media affects us. The negative effects may be why people choose ignorance. Faltesek mentioned the “mean world hypothesis.” This hypothesis portrays the idea that if people consume too much negative content, they will feel like the world is a more dangerous place than it actually is. “So if you watch a whole bunch of CBS dramas that are full of shooting and violence, you will think you live in a more dangerous world than you actually do. And it’s a real problem. Americans think they live in a very dangerous society when they actually live in a very safe society. So you trick yourself into believing that you’re in danger when you really aren’t,” he added. This is not to say that Americans don’t have real problems or that everyone in the United States is safe and comfortable all the time. This is just a reminder to evaluate whether your fears are coming from, media or reality? The phrase “mean world syndrome” was coined by George Gerbner, former professor of communication at the University
of Pennsylvania. In an essay titled “Reclaiming Our Cultural Mythology”, Gerbner wrote, “What this means is that if you are growing up in a home where there is more than say three hours of television per day, for all practical purposes you live in a meaner world - and act accordingly - than your next-door neighbor who lives in the same world but watches less television. The programming reinforces the worst fears and apprehensions and paranoia of people.” This is one reason why people choose to remain uninformed. They think the world is terrifying and they don’t want to hear anything that might scare them even more. Another reason why people may choose to stay in the dark is that there is so much information in the world and no one can know it all, so why even try? “To truly be knowledgeable is to know when to believe others, or when to let them do some thinking for you,” said Faltesek. He went on to explain the idea that once you realize that you can’t know everything, you have to outsource some of the work to other people. Let others do the research and put in effort, then filter through the information, making your own independent opinions. Ultimately, Faltesek noted that people who are cognitively modest will choose to make fewer judgments on their own and that ignorance can be used as a defense mechanism that allows people to manage the horror in the world. If people aren’t ignorant out of fear or lack of effort, they might ignore news because they don’t want to live surrounded by negativity and sorrow. As Dolan stated, “Ignorance is bliss, truly. If you don’t know what is going on in politics, then you don’t even have to worry about it. If you don’t know that California is on fire, then you don’t have to think about those people who are affected.” What people need to realize is that sadness is okay. It is an uncomfortable emotion, but it must be dealt with. At the same time, you can’t always be in a state of sadness. This is the problem. We should be informed, but we have to realize that media is not always going to be uplifting. It shouldn’t be. “We can’t have a media that’s just feel good candy, that’s just as bad as a media that hurts you all the time. We have to start thinking about building a media that informs and is responsible and engaging without being manipulative or cynical,” Faltesek expressed.
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[EXUBE RA NT MINIMALISM]
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D I RECTI O N & WR I T I N G : J e su s R e y e s P H OTOG R A PH Y: L o g a n H o w e l l
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Minimalistic design conveys the message of simplicity, where less is more. Streamlined shapes, monochromatic colors and clean lines have caused an evolution in fashion and technology.
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f minimalism and technology had a love child, they would name it the iPhone. Its bloodline is so evident that a genealogy company is not needed to know its makeup. Anyone can see that the iPhone gets its looks from minimalistic design and its innovative capabilities from technology. But which of it’s attributes make each new version even more popular and irresistible product than its predecessor? Let’s take a closer look. In June 2007, Apple, the innovative personal computer company first ventured into the smartphone market and the star was born. The product was met with much anticipation and caused many consumers to reevaluate the purpose of a mobile phone. The announcement and release of the first-generation iPhone was similar to baby Simba’s majestic introduction in the Lion King., but did it live up to all the hype? According to Anthony Karcz, a Forbes magazine contributor, “The iPhone was unlike anything that had come before it. It combined a mobile phone and a music player in an easy to use package, leveraging (some might say cannibalizing) the popularity of the iPod.” If minimalism is the grandmother of the iPhone, then Steve Jobs is undoubtedly the grandfather. Jobs, the CEO of Apple, not only unveiled the iPhone to the world but was also instrumental in it’s design. Walter Isaacson writes in the Smithsonian Magazine that “Steve Jobs’ interest in design began with his love for his childhood home.” Job’s home was designed by Joseph Eichler, an architect with a minimalistic aesthetic inspired by Frank Lloyd Wright. Jobs appreciated great design and simple features at an affordable cost. This inspired the incorporation
of minimalistic design into technology which allowed the iPhone to be seen as an approachable and incredibly human device. In his article, “‘Extreme minimalism’ - iPhone Design Philosophy in a word”, Taehoon Kim explores the iPhone’s minimalistic design. He takes minimalism beyond just basic shapes and explains how it relaxes the brain and simplifies perception. In today’s society when information overload is constant, a simple design makes things easy to remember allowing the mind to quickly adapt to the product. The three minimalist themes that Kim relates to the iPhone’s success are basic shapes, symmetry, and structured grouping. All the application icons are squares with soft edges and equal dimensions which fulfill the basic shape and symmetry aspects. The layout of the icons are four in a row and equally spaced which checks the grouping component. There is a single menu button at the bottom center of the front, and the back is slick with the Apple logo in the middle. This recognizable interface eases the mind to focus on the icons and the features themselves. Moreover, the function of a single touch icons is as simple as it gets; heavy scrolling, pressing, or double tapping are virtually eliminated. The ease of use allows the consumer to dig deep into the iPhone’s technology. It is a pointless exercise to try and figure out whether design or technology is behind the iPhone’s success. Without one, the other will surely fail. It can have a billion apps, but without a simple design, it is not user friendly. The easy to use features and functionality make the iPhone extremely popular, not just with our generation, but with all generations, from ages one to 92.
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THE STREAMLINE tan puffer SUITE ZERO white long sleeve WETWEST GARMENT COMPANY canvas cross body bag YUXA
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y2k
D I R E C T I O N & WR I T I N G : S a r a h R o g e r s & J e ssi c a T h o mpso n P H O T O G R A P H Y: L o g a n H o w e l l
With a sentimental connection to the past, fashion enthusiasts are feeling colorful, urban, and a lot more sassy.
F
ashion trends are a force of never-ending up-cycle/down-cycle, where seasonal trends dictate style and consumer style dictates trends. This Spring season’s trends came from a merry-go-round of time travel, and the early 2000’s is our stop. The fashion is colorful, urban, and a lot more sassy. A sentimentality for the past causes style enthusiasts to cling to these nostalgic pieces, because they create a feeling of bliss. Behind the proverbial velvet curtain, millennials and their cusps were a generation of kids forced to grow up too fast. Due to malicious geopolitics, competitive market economies, technological advances, and the birth of social media platforms that define beauty and social standards. As we yearn for simpler times, fashion trends bathed in a warm nostalgic light carry a much deeper meaning. In an age of Vaporwave, the last thing we would’ve forecasted was a rise in the popularity of late 90’s fashion. But one thing we do know is that fashion is cyclical and even the most playful of trends come back around. Our generation has a love affair with nostalgia and the Capri-Sun-drinking side of us resurfaces while wearing pieces inspired by early 2000’s bubblegum pop or ‘90’s grunge. What does Nostalgia mean to others?
magazines next to the check out stand at the grocery store with our mom, we all want inspiration and to bring newness/trendiness to what we already know.” Apparel design major Payton Smyer, who is also a co-owner of Suite Zero Vintage said, “Most current mainstream fashion influencer’s grew up in the 90s/2000s, so this time segment is a major source of inspiration for the products and designs that they are producing. Because of that, everyone else is catching on to that ‘trickle down’ trend that is based around 90s/2000 culture.” Alexis Suazo, an fashion merchandising student at Oregon State said, “My favorite trend from the early 2000’s was Avril Lavigne’s style because her don’t care attitude played into my confident teen angst.” Inspired by Lavigne, Suazo began incorporating edgy or punk type pieces like “doc martens, graphic tees, and fishnets.”
Hannah Read, who boasts 15k followers on Instagram as a fashion blogger, is never without her all time favorite “dad” shoe. Her blog cultivates a taste of fresh trends with notes of early 2000’s pieces,
When we were younger our world was so slow, growing up seemed like it was taking forever, and once we did we realized it all came too quickly. We couldn’t hold onto feelings, cherish in them, because we were so young, so unknowing of what lied ahead of us. When you’re a child your world exists in a bubble, the sky’s the biggest thing in the world and the only issue you face is remembering to double knot your shoelaces. Media was birthed into our generations ideals and we idolized the lives of figures that plastered issues of Tiger Beat, J-14, and Teen Vogue wanting to be just like them.
Read said “I think our generation is always looking for the next new trend - it’s a blessing and a curse but I like to focus on the way it makes us a progressive generation. I think our fascination with these older trends comes from us wanting something new & different while drawing from what we all knew as kids - it’s almost like a way of camaraderie and finding something we can all relate to. Whether it is from tv stars we loved or the celebrities we saw in
We are a sentimental generation, growing up in a rapidly changing society, we traded our flip phones for smart phones in the blink of an eye, and we don’t know what to do with that fact. As the ‘90’s trends come back around, we have a second chance to wear things that we’ve always to, like sparkly bell-bottoms and platform shoes. We can jump back into that scheme of childhood with just a quick change of clothes.
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2000’s TRENDS
Model Natalie Cornejo wears a Forever 21 fuzzy knit top and butterfly clips.
A NOSTALGIC LOVE AFFAIR Model Amneet Singh wears a sheer pink Brandy Melville top paired with thrifted floral biker shorts and a Nike
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windbreaker.
SWEET & SASSY
Models Libby Morgan (left) and Emma Bowder (right) sport silky smooth slip dresses paired with statement accessories from Claire’s.
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Versatile, pliable, inexpensive—and ubiquitous—plastic remains a lifesaving miracle product as well as a plague of the modern world. D I R E CTION , WRITIN G & PH OTOGRAPHY: Cora l Av ery
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Susanne Brander, an assistant professor in the Oregon State College of Agriculture and Life Sciences, is an ecotoxicologist. She explains that, plastics and synthetic fibers enter our waterways through runoff and wastewater discharge. “In addition to seafood, microplastics have been found in drinking water, beer, salt and even honey,” Brander said. The documentary Marathon for Justice, shows how synthetics also contribute to environmental racism, within many industries, where toxic waste from production is regularly dumped near indigenous, black, and latinx communities in the US, degrading health conditions and polluting waterways. For the fashion industry, it may seem as though natural fibers are an easy solution, but it is actually a more complex issue. Dr. Hsiou-Lien Chen, an associated professor in the College of Business, specializes in environmentally friendly and sustainable textile materials. “It is a common misunderstanding that using natural fibers is more environmentally friendly than synthetic materials,” Chen said. This is because natural fibers like cotton require vast quantities of resources, they may actually have more environment impacts than polyester fibers. Although renewable materials may address part of the problem, resources for natural fibers still come at a cost where many social injustices would remain. For environmental and human rights concerns, the changes of the future could hold the key to a clear conscious.
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t’s no secret that we are living above our means as a society. According to the Global Footprint Network, our consumer economy has created a system where we need four total Earths to provide for the 7.7 billion people that currently exist on our planet if we all lived like the “average” American, and a large part of this consumerism lies in fashion. Fast fashion is designed to make trends quickly and cheaply available to consumers, but although the convenience and accessibility of this fashion is ideal, it comes at an extreme environmental and social cost. So how did we get here? This new norm began in the 1960s as textile mills boomed, providing a way for consumers to keep up with the rapid fashion changes that separated the styles of old and young generations. Sarah Idacavage, in her Fashionista’s article “What is Fast Fashion”, explains that where the majority had previously sewn their own clothes for themselves and their families, the convenience of readily available clothes pushed the fashion industry to the ever-changing and multifaceted industry we see today. Fast fashion is so ingrained in our society that we rarely put a thought towards our consumption, but as the environmental and social downfalls of the system surface, from plastic pollution to the abuse of sweatshops, more consumers are questioning the impact of their purchase.
We need four total Earths to provide for the 7.7 billion people that currently exist on our planet if we all lived like the “average” American, and a large part of this consumerism lies in fashion. Chen believes that consumers should prioritize reducing consumption and the industry should put efforts towards producing garments that are better quality and more durable as well as utilize materials that can be recycled, easily cleaned, and even stainresistant. Purchasing less also requires fewer materials overall, reducing the need for raw materials that are often exploited. A more closed loop system can be created by utilizing recycled materials for production and repairing and donating aged, but well-made clothes instead of throwing them out. For the past few years, social media has seen tags like #Minimalism, #Organic, and #LocalBrands at an increasing rate. Timeless trends and quality products are being prioritized over the convenience of second-rate fast fashion, thereby reducing the need for harmful big industry. Only time can tell exactly what the future will hold, but it is clear that we can work towards an environmentally and socially sustainable future starting with our choices as educated consumers. 35
FEELIN’ MYSELF In the past women were ridiculed for expressing their sexuality, but the increasing normalization of sex-positivity encourages women to be liberated and free from societal expectations.
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WRITIN G & D I RECTI ON : Roma n Cohen PHOTOGRAP H Y: Si erra J oy ner
WHO RUNS THE WORLD? Model Sienna Kaske (left) and Marissa Alvares (above) strike a powerful pose.
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omen have been consistently criticized for the display of sexuality, requesting birth control, having sex, sex work, and for stating that they have been sexually harassed and/ or assaulted. Today, women are more so embracing all aspects the idea of “sex positivity” which can be interpreted in different ways. For most, it involves having positive attitudes about sex and feeling comfortable with one’s own sexual identity and with the sexual behaviors of others.
“For me, there was a lot of reinforcement around dominant views towards cis-hetero-centric around sexuality growing up. The norms around shame, in regards to both women’s bodies and sex, were also very present. This caused a lot of confusion for me around identity and expression that impacted me deeply. The reinforcement of shaming also had implications around sexual violences and discourse for me as well as other people I grew up with. I didn’t understand concepts around consent like I do now and didn’t feel I had self agency in regards to my body for a long time. Now, I have made many strides in this area to be more open about myself and conversations around both bodies and sexuality. This has helped me professionally and academically in creating an atmosphere and conversations that focus on breaking silences and addressing violences towards our bodies. As an Indigenous woman, this is super important given the prevalence of violences towards our bodies. Personally, I am able to have ongoing conversations with my children about consent and body/slut shaming to try to help them feel more in control over their own bodies. Breaking silences and pushing back on settler colonial conceptions around bodies and sexuality are important parts of my work on campus and in communities. Luhui Whitebear (not pictured) Coastal Band Chumash AD of NAL Eena Haws 3rd year PhD student in WGSS, minor in QS
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“Sex-positivity can look different to each person, but to myself it is rooted in reclamation. Growing up, I was socialized to consider expression of female sexuality as synonymous with slutty, dirty and inferior. The only accepted female sexuality was for male consumption only. For myself, reclaiming female sexuality is tied directly to body positivity and celebrating both as inherently valuable without having to cater to the male gaze. I learned that expression of sexuality doesn’t have to go hand in hand with promiscuity, and those who choose promiscuity have nothing to be ashamed of. I can enjoy expressing myself, my femininity and my sexuality without having them be a commodity meant for someone else.” Ameyalli Ixtlilxochtil Manon-Ferguson (left) 6th-year majoring in fisheries & wildlife science, sustainability, and ethnic studies
“I believe that sex positivity is huge in not only my life but for everyone. Women specifically have been oppressed and shamed for being proud of their sexuality. Shifting the narrative around sexuality to one that is inclusive and celebratory for everyone, not just for men, is very important to me. A celebratory approach allows for me to not be afraid to talk about anything from my own sexual needs to issues of sexual violence in a confident and empowered way. It gives me the ability to be proud of my own identity and uplift others to celebrate their own.” Emalydia Flenory (right)
1st year graduate student in the school of writing literature and film
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MINDSCAPE Model Reine Messina wears suit from ZARA. Hair by Zahra Joseph.
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COPING MECHANISM ST Y L I N G : Pa i g e P h i l l i p s
Within these lines lay healthy ways for humans to cope. In our generation, we have been increasingly more transparent about our emotional well-being, which in turn leads to questions about how we are dealing with the challenges we face.
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T H I S I S A V I S U A L R E P R E S E N TAT I O N OF FEELING LIKE OUR MINDS ARE I N M U LT I P L E P L A C E S AT O N C E .
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