Adorn: Fall 2022

ADORN

LETTER FROM THE EDITORS

From an early age, clothing became a way for me to express myself - it is an outward reflection of my thoughts, feelings, and interests, and over the years resulted in a sense of confidence in myself that has allowed me to go after my goals and ambitions. However, I didn’t get here alone. Growing up, I was influenced and encouraged by my mom and my two grandmothers to express myself with clothing, and as I got older, I got influence, encouragement, and support from my friends and other loved ones. Now that I am in college a lot of that comes from DAMchic. I get the privilege to work with people who all have their unique styles and perspective, and a lot of genuine support, love, and encouragement that they bring into our meetings, photoshoots, and events every single week.

In this issue, you can see each of the director’s takes on maximalism, which is exaggerated, audacious, bold, and unafraid. Maximalism is all about individual style, being loud, and communicating with your clothing. Each director is communicating a different message and taking on the theme that I hope inspires and encourages you.

We wanted this issue to explore maximalism because it has morphed over time to fit into various trend cycles and decades, though it looks different just about every time it is there. Since maximalism seems to consistently find a place to exist within fashion, we wanted to explore the spaces that it is in now and also see how it exists in relation to trends and perspectives that can be relevant to students on our campus from our directors’ unique visions. A part of maximalism is self-expression hence the name Adorn, and I hope this issue can make you feel inspired and confident.

I would like to thank the amazing, talented, and creative team that worked so hard to put this magazine together. I am blown away by the talent that people at this magazine possess and am inspired by the creativity and hard work that every single person poured into this issue. I am proud and grateful to work with such incredible people. Thank you to everyone who worked on this magazine, you all continue to amaze me.

KLEINSCHMIT EDITOR-IN-CHIEF

NAOMI

Photographer: Jennie McDonald

EDITOR-IN-CHIEF

NAOMI KLEINSCHMIT

ASSISTANT EDITOR

CHAYA BARRATT

COPY EDITOR EMMA COKE

LEAD PHOTOGRAPHER

ASHTON BISNER

CREATIVE

ALAN NGUYEN CHLOE JAMESON

DRAKEN REEVES EVA SIFFERT ANN MARIE BOTTITA KATE ZAINE MADISON TAYLOR

CONTRIBUTING DIRECTORS

ABIGAEL PEARL CRAIG

ADDIE COMSTOCK

ADDISON EASTER

ADEN HURDSTROM

DRAKEN REEVES

EMILY HAYWARD

HANNAH AHMED

JENNIE MCDONALD

JULIETTE SACCENTE

KENNEDY GRINDLE MYLA GARLITZ

NATHANIEL OLSEN

NOURI BENNETT WENDY LEPRE

THE TEAM

PHOTOGRAPHERS

ALEX OZERAN

DUANE KNAPP GRACE JOHNSON HAILEY KNAPP JAKE FISCHER JASON MAY JESS HUME-PANTUSO JIRATANA TUNGKAWACHARA JULIE BARBER

CLOTHING

BASS PRO SHOPS DOLLAR TREE FREE PEOPLE GOODWILL JOANN’S FABRIC LEVI’S DENIM LIONESS NABEELA NAJJAR OSU BEAVER STORE SKIMS SPIRIT HALLOWEEN TARGET VINTAGE EXPRESS

STYLISTS

ALINA HAWKINS

AMBER KIMBERLY CHANEL AKAZAWA

GRETA BABBIT MCKENNA NGUYEN MICHELLE SCHOCK

MAKEUP

AND HAIR

CHRISTINA RENTERIA

DRAKEN REEVES

KENNEDY GRINDLE MYLA GARLITZ

LOCATIONS

LOCAL CORVALLIS RESIDENCE

MU VETERAN’S ROOM

PEAVY FIELDS RESER STADIUM STUDIO A STUDIO B WINCO

MODELS

BETTY PASAWAE BRANDON HAMILTON

CHAYA BARRATT EMILY PEREZ ERICA NYARKO HANNAH VOGT JACK HANLINE KAILEY LAM

KENNEDY GRINDLE KYLIE ROCHA LANI O’NEILL LAUREN HOLE MICHELLE WAMBUI

MITHRIL AJOOTIAN

NATHANIEL OLSEN SOPHIA O’ROURKE SOPHIA WILLIAMS WILLOW WASIELEWSKI

Photographer: Jiratana Tungkawachara

YEAR 3000

By Nate Olson

HEAVEN FOUND IN A HOOP SKIRT

By Aden Hurdstrom

GROW UP!

By Jennie McDonald

MAD MAX(IMALISM)

By Myla Garlitz

ACT YOUR AGE

By Abigael Craig

NORMAL GIRL

By Draken Reeves

HONEST WORK

By Nate Olson

THE POWER OF RED

By Wendy Lepre

Director & Writer: Nathaniel Olsen Photographer: Grace Johnson Models: Emily Perez

“He said I’ve been to the year 3000, not much has changed but they live underwater” sang the Jonas Brothers in their song, Year 3000.

I can guarantee your nostalgia bug is buzz rampant, as these lyrics from Jonas Brothers classic song plays in your head. This Gen Z banger had a vice grip over our hearts and minds when we were young, telling the story of the wild possibilities that the future might have in store. Reiterating the message of the world straight out of the Jetsons animated television show chopped full of flying cars, hologram communication, and humanoid robots as far as the eye can see.

“The future,” or at least this maximalist technological future, has been in the dreams of people for generations. While overly “youth” in theory, it has a major impact on the way people see themselves and their place in the future to both their benefit and detriment.

Rapid advancements of global technological and communication abilities has given 85% of all Americans access to a free and infinite internet universe, according to a Pew Research Study.

Every book, journal, or opinion sits under the user’s nose just waiting to be taken in. If you need anything while you consume the endless internet, you must only wait a day and Amazon will have whatever product you’d like sitting on your doorstep. It might only be 2022, but the year 3000 is a lot closer than we would like to imagine. We must however consider the full ramifications of a world where technological advancement coincides with our idea of societal advancement.

The Global economy has simply put undue stress on the developing world in order to provide most people with the everyday luxuries we have become accustomed to. As of April 2022 Shein was reported to be the most successful company on the planet, grossing 100 Billion Dollars which is more than competitors H&M and Zara combined.

Yet as of October, the fashion publication, The Cut, found that Shein’s factory employees were being paid $1 USD per day of 18 hours work, and in some instances, 4 cents per garment.

By flooding the consumer fashion industry with dirt cheap clothing, Shein has priced out their competitors leaving the supply chain and the laborers that make it possible on the cutting room floor.

The environmental impact of such an egregiously wasteful means of production comes with more severe consequences not just for those involved in the production of the clothing. The planet simply does not have the capacity to produce plastics and polyesters at the rate that Shein and their customers demand, only worsening the known effects of global climate change.

Overconsumption of fast fashion is a problem that mostly affects working class people but it is actually a symptom of the greater problems in the current fashion industry. The fashion calendar in its modern state is a mechanism that has propelled the entire industry into the assembly line of overproduction and overconsumption at all levels.

The world’s largest brands are almost all part of two company groups, Kering Group and LVMH. These two corporate conglomerates own brands such as Gucci, Louis Vuitton, Balenciaga, Dior, and Tiffany & Co. These brands show collections up to five times during the year.

Starting with Fall Haute Couture, to Pre-fall, to Fall and Winter Ready to Wear, then to Spring and Summer Ready to Wear, to Spring Haute Couture, and last but not least, Resort. Fashion retailers and their patrons are drowned in product all year in an attempt to stay on trend as possible.

For example, in 2021 Gucci Showed three collections, omitting Haute

YEAr YEAr YEAr YEAr YEAr YEAr

Couture from their offerings. At first it may look as if they aren’t as offensive as some of their competitors, but the reality is that in those three runway shows they released almost 300 unique head to toe looks all available for purchase. This level of production is not uncommon and is gutting the planet’s precious resources quicker than they can be replenished.

Not to mention that the design capabilities of these large brands is stretched too thin as there are too many ideas that have to be produced under a collections theme. This often means that brands use collaborations to use other brands’ design motifs and identity and in the end release extremely lazy products.

The most punishable offensive of this has to be Balenciaga’s collaboration with Adidas shown at their Resort 2023 runway show. The offerings included the simple Adidas classics, cotton jersey track suits with the three line motif and trefoil logo with Balenciaga text logo underneath. Unlike the Adidas tracksuits that you can find at most any mall for around $60, the Balenciaga x Adidas tracksuits cost upwards of 4 thousand dollars. This level of laziness is utterly appalling and when paired with the fact that this was the 6th Balenciaga collection of the year, it’s criminal.

Overconsumption at every level of the fashion industry serves to undermine the earth and the most poor people who live on it. It is on the current generation to make sure that the future is not one where we are drowned by the overwhelming effects of climate change because if not much changes, we will all be living underwater in the year 3000.

HEAVEN FOUND IN A HOOP SKIRT

What do women from the Victorian era and women nowadays have in common? Actually quite a lot.

As I am sitting in Art History instructor Daniele Di Lodovico’s office, pictures of gorgeous, almost mythical women are displayed on a computer screen. The women in the paintings are from PreRaphaelite works of art that were very common in the Victorian era. Daniel explains that the women during this era as depicted in the paintings were represented as “sort of a femme fatale”. Women were shown as elegant and dangerous in a way that almost idealized them. It is also important to note, that these Pre-Raphaelite paintings were only bought by people of the upper classes and in a way, were meant to be painted for them and them alone. Di Lodovico then showed me other paintings of Victorian women not so idealized and elegant. These paintings show women painted (figuratively and literally) in a darker, more bleak light. The particular painting Di Lodovico presented is titled Nameless and Friendless. “The rich man’s wealth is his strong city, etc.”- Proverbs, X, 15 by artist Emily Mary Osborn, and shows a woman with presumably her brother, trying to offer one of her paintings to an art dealer who is ultimately rejected. Women were “not believed as artists’’ and “objectification of women was a common theme at the time”. Di Lodovico explains how Victorian artists were known to show moral issues within their art and how they “represented what they were seeing” about class and society as a whole.

Fashion and the way people dressed were a big part of class and society as well. When looking at depictions of Victorian women, one often sees extravagant outfits with ruffles, tight corsets, and voluminous hoop skirts that dredge up the question: “Were these women in pain daily?”. What once was only used by ladies of the upper class, uncomfortable Crinoline (a stiff petticoat made out of uncomfortable fabric and horse hair) skirts evolved into hoop skirts thanks to Amelia Bloomer. Hoop skirts were made available to all classes and were a much more comfortable alternative to Crinoline skirts. This pain that was felt was what led women to believe something was terribly wrong with the way women were expected to dress. According to Gina Marlene Dorré in the article “Horses and Corsets: ‘Black Beauty,’ Dress Reform, and the Fashioning of the Victorian Woman”, many feminists sought to change women’s expectations of dress. Dorré writes, “the feminist faction of the dress reform movement saw the abolition of the tight-laced corset and its debilitating accessories

Commodity Culture, and the Victorian Public Sphere”, the level of how Victorian folks held these physical goods is explained in vibrant detail. Voskuil explains “the items became, as commodities, extraordinary and necromantic, functioning more as talismans or amulets than as prosaic objects of daily use”. Though this perception of goods could be described in a more “special” light, it did not restrict most folks from buying goods upon goods upon goods- a notion that remains familiar in today’s world.

Though I hope this delve into the past was interesting and not like one of your required history classes, I want to offer up some resources and knowledge that combat the negatives of the Victorian era as discussed throughout this feature. All in all, I hope you as a reader can take this information and have a realization that consumerism and gender disparity are aspects of our society that need to be changed and not fed into. We must collectively make conscious decisions to make a difference.

Some resources to utilize around you that relate to the stop of consumerism are Corvallis’ very own, “Really, Really Free Market”. Open every Friday from 12:00 to 4:00 at Central Park, and Monday through Friday from 2:00 to 6:00 at Benton Plaza Free Store, clothing and supplies are provided to the public for yes, free! Donations are also accepted so don’t throw your useful clothes away- give them to someone who might want or need them!

as a step towards women’s social, sexual, and political emancipation”. Other anti-feminist groups though saw the way Victorian women in the upper to middle classes dressed in excess and disagreed with it for those reasons. It seems as though these Victorian women could never catch a break as they bore witness to criticism on either side of their sizeable hoop skirts.

As these women grappled with their identities and how they dressed, the world around them was changing rapidly. Amidst the Industrial Revolution, many commodities were becoming easier to attain. Mass production and the establishment of factories made it so almost all classes of people had access to material goods that only fed into and amplified consumerism. In Lynn M. Voskuil’s journal article titled “Feeling Public: Sensation Theater,

Other resources for gender-related issues may include versing yourself in gender and feminismrelated issues. Consider taking a Women, Gender & Sexuality Studies (WGSS) class here at Oregon State University. Though this may seem like a given, making the conscious choice to learn more about women’s rights is truly the first way to make a difference.

Looking to the past offers solutions to the future.

“As these women grappled with their identities and how they dressed, the world around them was changing rapidly.”

Director & Writer: Aden Hurdstrom Photographer: Duane Knapp Models: Sophia O’Rourke

grow

grow up! up!

Director & Writer: Jennie McDonald

Photographer: Alex Ozeran Models: Sophia Williams & Mithril Ajootian

Shrinky Dinks, friendship bracelets, the Scholastic Book Fair, Lisa Frank, Winnie the Pooh, Bratz, Legos, Hello Kitty. Oh, grow up.

Or don’t. Simple childhood pleasures and a touch of consumerism came together to form the foundation of our generation. The older gen Z gets, it seems, the closer reviving the core elements childhood. And, as research suggests,

taking the time to re-experience as adults everything that gave us joy as children may actually benefit our emotional and social well-being.

Cybr.grl, an alternative fashion influencer and Youtuber, epitomizes kidcore with an abundance of rainbow accessories and clothes that cover her head-to-toe.

Kidcore is one of many “core” aesthetics which started in the 2010s, featuring beloved cartoon characters, full-color saturation, dream-like memories, and playful escapism. “Kidcore often gets confused with decora fashion,” said cybr. grl in her Youtube video What Is Kidcore? Are Kidcore And Decora The Same Thing? Decora is a type of fashion similar to kidcore, which originated in Japan in the 90s and focuses on self-expression through accessories.

Megan Catherine Rose, university researcher and author of the 2020 study Child’s Play? Exploring the Significance of Kawaii for Decora and FairyKei Fashion Practitioners in Harajuku through a Case-Focused Analysis concluded through

their study on Decora fashion that “In this specific context, the use of kawaii [cute things] by adults is shown to have the potential to bring a sense of creativity, happiness and play to their everyday lives.” According to Rose, Decora practitioners focus on what ideas do and do not bring them joy.

Carefree, child-like fashion isn’t new to pop culture – icons like Melanie Martinez, JoJo Siwa, and now Olivia Rodrigo have embraced nostalgic touches such as bright colors, beads, stickers, and playful themes in their careers. “Just wear whatever you want to, have fun with fashion!” said cybr.grl.

The Oregon State University Craft Center, located in the Student Experience Center

basement, provides students with the opportunity to reconnect with the crafts they loved as kids, like tie-dye, watercolor, or even just gluing pom-poms and googly eyes together. And it’s popular, with hundreds of students visiting

Ange Purviance (they/them), Assistant Director of the Craft Center, came from a background in Kindergarten to 8th-grade art education. “I thought when I was walking away from K through eight, I’d have to give up the ‘look what I made!’ [from students], and I didn’t - it still happens,” said Purviance, adding that kindergarteners and college students share a core interest of “wanting to just. . . play with things while talking to people. That’s cross-generational, that’s no matter what age they are.

It’s enjoyable.” According to Purviance, getting back into crafting has multiple benefits, including gaining a sense of belonging, being able to process difficult experiences, practicing mindfulness through processoriented activities, and forming lasting friendships.

“Those kinds of things are important. Tie-dye is very

important. Anything that can trigger [those] happy memories. It’s not always treated as important, but it is,” Purviance said. “It helps ground you, and it helps [you] not have to take everything so seriously all the time.”

We hold these pieces of our younger selves with us, and they give us hope on rainy, dull adult days.

With the rise in statement makeup looks, in part due to social media like TikTok and perhaps even some shows like Euphoria, interest in ways to make makeup pop has increased.

To help you get started, here are 4 ideas and how to implement them to uplevel your looks.For each of these looks, it’s recommended that you start with a base of makeup already on, as these should be more of the final touches. Basic steps for a simple base include: primer, concealer, foundation, setting powder and setting spray.

PEARLS

Our first funky recommended accessory to add dimension is pearls. Pearls are a great way to add some extra bling to any makeup look. A good place to find flat-backed pearls is at your local craft store. Bonus points for if you can find ones with adhesive already on them. If you can’t find the ones with adhesive, grab some lash glue instead. Finally, use some sort of tweezers or placement tool.

Placement ideas include: one pearl on the inner part of the eyelid, under your eyes, right above your cheek, lips and lining your brows.

LINE ART

Makeup trends like graphic liner have been huge lately. With lots of growth and spikes in google searches for “graphic liner” since the pandemic. The fun part about line art makeup is that it can be as abstract as you want; get creative with shapes and colors. Normally, to follow the graphic liner look, you can use actual liners or even setting spray and eyeshadow. For a more unique line art look, try thicker lines, ombre colors, monochromatic or using concealer,

GOLD FOIL

MGold foil can add a lot of dimension because of its flakiness. To get that flaky look, try looking for foil that’s already broken up into pieces, but if you want more control over flaky/smoothness and size of the foil, get foil sheets. Using lash glue or even something like vaseline will work. Placement ideas: eyebrows, lips, collar bone, speckled in your eyeshadow, or where you put highlighter above your cheek.

FLORALS

There are so many creative ways to add flowers to your look. One being dried pressed flowers because of how easily they can be placed over your face and makeup. If you have the time, try dry-pressing your own flowers. However, for convenience on color, size, and time you can buy some from a craft store or online. They come in assorted colors, so you have a variety of colors and types of floral. Like the other methods mentioned, use lash glue to stick them on, and to create added dimension try layering them.

Placement ideas include: a small flower on some false lashes, lips, eyelids, brows, and small ones as freckles.

Director & Writer: Myla Garlitz Photographer: Hailey Knapp Makeup Artists: Christina Renteria & Myla Garlitz Models: Brandon Hamilton, Kylie Rocha, Kailey Lam, & Erica Nyarko

“Am I too old to wear “She looks great for thirty.”

“Hasn’t aged a day.”

Director & Writer: Abigael Craig

Photographer: Jason May Models: Lani O’Neil, Chaya Barratt

Sound familiar? Oftentimes, the beauty of any aging person seems so up for debate -even entering your twenties can be intimidating, especially in college.

We are surrounded by so many new people and trends, and we often turn to people we admire for what to wear. These might be models, actors, or influencers. They show you how to do makeup, what to wear and how to wear it. Yet most are baby-faced teenagers that now have methods and money to maintain their youth. It’s difficult to see past the perfectly aesthetic and carefully catered “For you” page.

Older people are growing up with the internet too, and many enjoy using their social media platforms. A study by the Pew Research Center reports that the number of people 65 years and older who use modern technology has increased remarkably over the past decade. Yet they rarely will see themselves presented on the internet as beautiful.

Women, especially, feel the need to “correct” themselves with hair dye and wrinkle creams as they age. According to Garnier, out of 2,000 women surveyed, 85% chose to box-dye their hair regularly to hide gray hairs. Whereas men become “silver foxes” and are often considered desirable into old age without major editing.

The main question remains: How are you meant to feel confident throughout your life if you’re told confidence is only for the young?

People often discuss different varieties of diversity in fashion, but we rarely touch on ageism and how it affects our perceptions of beauty. Casting calls for models come with age limits, in addition to endless makeup advertisements that airbrush texture and folds in the skin. Regardless of what magazines and television would have you believe, the average age of society will continue to increase as our average lifespan increases.

According to the United States Department of Human Health Services, “between 2009 and 2019, the number of Americans aged 4564 (who will reach age 65 over the next two decades) increased by 4% from 80.3 million to 83.3 million. The number of Americans aged

60 and older increased by 34% from 55.7 million to 74.6 million.”

The number of people that will be around longer will only increase, and they will continue to need clothing. Much of fashion loses purpose unless it resonates with society, and there’s an apparent loss if most people feel unrecognized. It’s difficult to buy a dress if there are no models that look like you.

Not to mention, your age shouldn’t condemn what you’re “allowed” to wear, even on a less professional level. Society and fashion often operate under the impression that older people are stereotyped as unfashionable and out-of-date. Meanwhile, younger people are expected to show skin and always be up-to-date on the latest trends. As the famously couture, 101-year-old Iris Apfel says in her documentary: “It’s better to be happy than welldressed.” Whether you’re 19 or 90, the point of clothing isn’t always to be age-appropriate. It’s to express yourself and have fun. Everyone ages eventually, even college students.

Further diversity calls for a broader age inclusion on runways and makeup ads so that growing people like you can find beauty in yourselffor all your life.

Director and Makeup: Draken Reeves

Photographer: Jess Hume-Pantuso

Model: Willow Wasielewski

NORMAL GiRL

THE CENTER OF A CROWD THAT DOES NOT EXIST

HONEST WORK

HONEST WORK

Directors: Nathaniel Olsen & Juliette Saccente Columnist: Nathaniel Olsen

Photographer: Jake Fischer Models: Nathaniel Olsen

Director & Writer: Wendy Lepre

Photographer: Julie Barber Make Up Artist: Christina Renteria Models: Michelle Wambui, Hannah Vogt

online often have one character hating then slowly but surely tolerating then loving another character. The fascinating thing of what’s just been described, and the scenarios given? One color represents all of it. In a study of color on Sage Journals, they wanted to examine the effects of color on college students, specifically the buildings in the campus quad. In the surveys they collected, the majority of the students said their favorite spot was a restaurant that was painted with bright pastel colors, and the majority’s least favorite spot was the cafeteria which was painted white. It is clear that the places painted with color grabbed and held people’s attention, and excited them more. Red was also a prominent color in the walkway leading into the quad. Angela Wright stated that red is what grabs people’s attention first, because it is often such a bright and eye-catching color, and that it also represents entertainment and excitement. In the background of the study, the color red was described as “basic” but also “powerful and strong.” It is a bright and lively color, and stimulating to the human mindthis is the side of red that represents love.

“HOW CAN ONE COLOR REPRESENT THE TWO MOST POWERFUL EMOTIONS A PERSON CAN FEEL?”

When you think of love, I’d imagine an image of red hearts comes to mind. Red hearts have been a symbol of love for a long time, and have also become an iconic symbol. The combination of red and the most widelyknown symbol of affection is one that makes a lot of sense. Love is a powerful emotion - it completely takes control of us - our minds, our hearts, our body. Modern media has captured love stories of all kinds through movies, shows, and as mentioned above music. One of the most iconic examples of this is Ross and Rachel in Friends. I think we can all agree they shared a deep red love that led them to do wild things. In Taylor Swift’s words it was definitely both “ridiculous” and “thrilling.” Don’t think you will ever be manipulated by the effects of love on the brain? Wait. You’ll see.

Of course, life is not just black and white like how it has been portrayed in a sitcom-it has many sides to it. This idea applies to colors too, and red is no exception. It not only represents love, it represents another extreme emotion. Hate. Not even a nice-sounding word. Let’s look again at the Sage Journals study: they describe the dark side of red as being filled with “defiance” and “aggression.” The study also says research has shown the color red activates our “fight or flight” response.

This makes sense as red is a very intense color, with the longest wavelength from our eyes’ point of view. This makes it appear closer to us than it is. It can give us a good jumpscare when it wants to. Red and green are popular colors among villains in stories and movies, for that jumpscare effect, and to make them look powerful and intimidating. Jafar’s red robes in Aladdin, Gaston’s red shirt and coat in Beauty and the Beast, and Captain Hook’s red jacket in Peter Pan are classic examples. Looking at comic book villains from Marvel, Red Skull, who literally has a red face and head from an experiment gone wrong is quite the sight to behold, and the Scarlet Witch aka Wanda Maximoff was recently seen as the villain of Doctor Strange: In the Multiverse of Madness, during which she sported an all red ensemble. It is an intense and powerful color donned by some intense and very powerful characters. It’s no wonder we are drawn to it: who wouldn’t want to feel some of its power?

Lora Redwine, a professor in the graphic design department at OSU had a lot to say about color. Everyone perceives color differently, and Redwine points out that color bias can have an especially large impact on how people see different colors. If we associate a memory with a certain color, that will change how we perceive it. This can be the same globally for different cultures. An example of this is the color of loss and mourning in the US is black, while in China it is white. Warm colors and cool colors have different meanings as well, with warm colors symbolizing the sun and warmth, and cool colors are more wet and purifying, Redwine says. When it comes to the mental side of the effects of color, Redwine offered a study done where a group of 20 students were exposed to different colors of light to see how it affects their feelings mentally. The students reported being in a state of well being when bathed in red light, and felt the both relaxing and arousing effects of the bright color. When asked specifically about the color red, Redwine wrote that she sees the color as “passionate, aggressive… powerful.” In the same sentence she also wrote she sees the color as lucky, and it makes her feel rich. Redwine says that when it comes to her own clothing and decor, she cares a lot about what colors she chooses. As for people around her? When she sees them wear red, she thinks it is a bold choice, and commends them for it.

Red is a weird and wonderful color. It’s intense, yet beautiful. Angry yet lovely. Arguably the most interesting color out there. With great color comes great responsibility, and we need people like Swift who have the power and responsibility to take it on. It’s a statement. Is it one you’re bold enough to make? You know there’s only one way to find out. And remember, “love is a ruthless game unless you play it good and right.” - Taylor Swift.