Metamorphosis: Spring 2021 by DAMchic Magazine

METAMORPHOSIS

SPRING 2021

METAMORPHOSIS

LETTER FROM THE EDITOR The season of spring has always had a sense of optimism to it, the promise of renewal after the coldness and frigidity of the winter months. Even now, after what we have endured within the past year and a half, people are full of hope for the future. We have seen the landscape of our society and environment change drastically throughout this period of time. The pandemic has chiseled and molded us, with its effects most likely to show for decades, perhaps even centuries to come. We are faced with what is no longer the “new normal,” but a new world entirely. As much as we would collectively like to return to what we knew before, the only way to move now is forward. In this period where we have felt much despair, we can still feel a pulsing, a sign that humanity is still present within our midsts. People have been finding new avenues in which to interact and meet others, to collaborate on fresh ideas, and ways to invest in themselves. There is a yearning to grow and improve, because the pandemic has shown that change must happen, whether we are ready or not. Within the younger generation especially we see a refusal of stagnation, and a necessity for optimism. In the Spring 2021 issue, we delve into this need, this absolute hunger for joy. The word “metamorphosis” is often used to describe a state of transformation, a process in which one becomes stronger and more magnificent after a period of seclusion. This theme is encompassed in this issue, as we explore the variety of ways that individuals have been preparing to flourish and challenge the world once this strenuous time is over. Even the undertaking of creating this magazine has shown how DAMchic has grown throughout this period. This term, we were able to resume studio photoshoots and have more models on set than we were able to within the past year. Though we are still taking precautions to ensure the health and safety of everyone involved, these changes have allowed the team to blossom creatively as a whole. As this is my final issue in my role of Editor-in-Chief, I’d like to thank the members of DAMchic one last time for constantly endeavoring to improve, to push boundaries of fashion, and to think creatively in how we can tell the stories of those around us. Thank you all for your tremendous amounts of talent and effort, I’m so incredibly honored and grateful to have spent this chapter with such a phenomenal team.

VICKI LIANG

E DIT O R - IN - CHIEF 2

Photographer: Ramzy Al-Mulla

THE TEAM

From top left to bottom right: Vicki Liang, Jo Carstensen, Draken Reeves, Isabella Regis, Avery Hadley, Ramzy Al-Mulla, Ryan Nelson, Claire Nelson, Aila Mickels, Naomi Kleinschmit, Kyle Schwer, Lanikai Yatomi, Kheilan Kussalanant, Juliette Saccente, Jessica Thompson, and Tanya Bihari.

EDIT O R -I N- C H I E F V I C K I L IANG

PHOTOGR A PHER S

L EA D PHO T O GR AP H E R

AARON SANCHEZ COOPER BASKINS JACOB L AGMAY RAMZY AL -MUL L A CL AIRE NEL SON JACOB L E LYANNA HOANG KYL E SCHW ER

DES IG N E D I T O R

PR I N T R EPORTER S

A S S I S TA N T E D I T O R J O C A R S TE NS E N

R A M Z Y AL- MULLA

H A I L E Y THOMAS

C O N T R IB U T I NG D I R E C T O R S D R A K E N R E E VE S J E S S I C A T HOMPS ON C L A I R E NE LS ON A A R O N S ANCHE Z N AT H A N I E L OLS E N L A N I K A I YATOMI RYA N NE LS ON K H E I L A N K US S ALANANT AV E RY HADLE Y TA N YA B IHAR I LYA N N A HOANG K YL E S CHWE R E M M A J OHNS TON O R I O N B IBE E D A R I E DWAR DS A L I F UE RTE

GABRIEL L E NEDNEY NAOMI KL EINSCHMIT

F R EELA N CER S

KJERST YN JORDHEIM AIL A MICKEL S ISABEL L A REGIS JUL IET T E SACCENT E

LOCATI ON S

DOW NT OW N CORVAL L IS DEEPW OODS GARDENS CHEPENAFA SPRINGS PARK PCC SYLVANIA CAMPUS W EST PORT L AND PARK

M ODELS

JACQUEL INE HUDSON ZANE YINGER SOL OMON L ANDSBERG ZAMIL L A L UGG DORIAN T RUEBL OOD L ANI O’ NEIL L W INT RE NEES MISHA KURITA KAMYA CHANDRA ANNA O’HEHIR SNEHA MENON CL AIRE GL AZER W INNIE W OO NIT YA PAT IL

CLOTHI N G

GOODW IL L ADIDAS H& M AMAZON BIRKENST OCKS CALVIN KL EIN RAL PH L AUREN COMME DES GARÇONS MAISON MARGIEL A NEIMAN MARCUS AL L EGRA K F REE PEOPL E SHIRL EY TANG L EVI’S ART IFACT MUJI GRADE& GAT HER

TABLE OF CONTENTS 6

KIS S O F V E N US

E M E R GE N C E

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AN A N GST OF R ED

B A LLA D OF A N I DEN TI TY CR I SI S

14 18

STI TCHED

A ESTHETI CI ZE

B U DDI NG VITALITY

M ODELI N G I N A NE W AG E

kiss of venus Director: Nathaniel Olsen Photographer: Cooper Baskins Writer: Tanya Bihari Models: Jacqueline Hudson and Zane Yinger This past year, COVID-19 has left people wanting deep connections with others, and as spring and vaccines come around, signifying the potential end of this pandemic, many are willing to establish those relationships as soon as possible. Maintaining relationships that are both romantic and platonic all matter in terms of maintaining a better life both during and after the pandemic. In terms of romantic relationships, Kaitlyn Saulman, a doctoral intern at the Counseling and Psychological Services at Oregon State University, shared some suggestions for partners connecting during the pandemic and how they can utilize these suggestions to keep their relationships strong.“COVID-19 safety guidelines and recommendations may feel initially limiting to date ideas, but with a little creativity and inspiration from the hobbies you enjoy, partners are still creating meaningful dates. With these guidelines in mind, individuals have come up with creative virtual date ideas such as cooking and eating meals together over video calls, screen sharing movies together, free virtual painting classes and interacting through online gaming.” Saulman also believes online dating or dating apps can be beneficial when navigating the safety precautions of COVID-19.

Virtually, the distance narrows when dates get personal, which seems inevitable as people connect from their homes, and have less to worry about when it comes to dressing up. This goes to show that comfort and communication is key when maintaining a relationship during a pandemic. But when it comes to anything virtual, there is always some sort of technical difficulty. App users who prefer to meet up quickly and go on dates aren’t great at engaging in small talk online. On the other hand, people who do enjoy speaking online are anxious and it’s hard to sustain meaningful conversation. It’s understandable, but frustrating. Although many people will rely on online dating during the pandemic, we all know it’s not the same. Sure, you’re still making conversation with a stranger, but there’s no in-person connection that we are all used to having. Instead, communicating more over the phone and on our screens has given the opportunity for people to sit back and really hear others out. Dating coach for The League and interviewee of HelloGiggles article “Is it Safe to Date Again? What to Know About ‘FODA,’” Connell Barrett says,”[..] chances are, all those online meetings over the last year made you a better listener, and listening is a dating superpower. That will serve you well on dates because you can give the other person the present of your presence.”

Writer of “Polyamorous Relationships Under Severe Strain During the Pandemic”from Phys.org, Riki Thompson states that for single people, finding at least one partner has been hard enough during the pandemic. But for those accustomed to juggling multiple relationships, the pandemic has forced them to rethink their expectations for dating altogether. Throughout the pandemic, we’ve heard about families and friends forming “pods” or “bubbles,” limiting maskless interaction to a small, predetermined group to prevent the spread of COVID-19. Psychosexual therapist Lohani Noor explained, “What humans actually crave is connection, be that sexual, loving, emotional or intellectual. What we are actually seeking in many ways is a reflection of ourselves, a desire to be seen, heard, and held and the desire to do that for another being.” As said by Toronto-based dating expert and matchmaker Shannon Tebb, “Communication is the key in any successful relationship. Although we still recommend virtual dates as a first step to connect with someone new, we know that as we move into summer, people will want to meet in person to see if those sparks are there.” Regarding platonic relationships, licensed clinical psychologist Holly Ann Schiff states that “the pandemic has surfaced differences in perspectives and created a sense of division in friendships and relationships.” We’re all trying to figure out what works for us and what doesn’t. Having many friends comes second nature, and this pandemic showed the true side of some people, which caused many friendships to end. If there’s one thing that has really come out of this pandemic, it’s this recognition that connection with others is a must-have. It’s

not a nice-to-have. It’s a need. It’s very fundamental. That’s something that a lot of people are just recognizing when it goes away on a large scale and recognizing its absence is very critical. In “The Pandemic Has Remade Friendship,” written by Eva Hagberg, she states, friendships involve emotional intimacy, but people have assumed that this intimacy is best mediated in space. The pandemic has released us from the expectation that closeness requires physical proximity. Instead, it offers an opportunity to decouple good relationships from physical intimacy and to open up other ways for friendships to flourish. Those lessons could improve our relationships now, and later. The pandemic has narrowed people’s social circles, but it has also made us more aware of the dynamics of social life and how important these connections are especially when the places people go to are fewer, which has limited the number of people they can see everyday. When dealing with issues during the pandemic, you are not alone. And even though we know everyone is experiencing this pandemic, our emotions often make us feel isolated. Connecting with others is critical to beginning the healing process and reaching out to people can make a difference. Creating meaningful romantic relationships and groups of friends that have a sense of understanding of each other is very crucial to the wellbeing and outcome of our future. As said by Psychology Today writer Suniya S. Luthar, with the ongoing uncertainties of COVID, now more than ever, we need to be “ahead of the curve” in fostering and maintaining close connections with others. This is the key to maintaining a better life for all when we enter a new world after this pandemic.

BALLAD OF AN IDENTITY CRISIS

Director and writer: Jessica Thompson Photographer: Jacob Le Model: Solomon Landsberg We all live simultaneously in 3 planes of understanding that we are spiritual creatures; we have an intellect, and we live in physical bodies. But because we deeply lack awareness of who we are and the nature of our capabilities, we are locked into a physical world. And we let things outside of us control us (i.e. God, money, and fate). 95 percent of people don’t even realize they are reacting to life and not actually living at all. How is one supposed to control their sense of belonging when its original foundation is deeply seated in the hegemony that props up social expectations and consumer status? Every few years we are forced to reassess with the ebb and flow of our geopolitical state(s), it always comes running back, full force. What is it about crisis that makes us question everything we once thought we knew about ourselves and our identity? 10

The pandemic confronted me to several things about myself and how I valued the world around me. Navigating our intersectional identities in the past year has forced us to face the confounding reality of our racial, gender, and age identities etc. during a global pandemic and Black activist movement. For years I have struggled with my appearance and consolidating my different identities. Understanding how I felt internally was a true reflection of the toxicity of my surrounding environment. Yearning for validation and attention but taking every chance to shield my face from the outside world. I wish I was comfortable in my own skin. Shameful, realizing how privileged I sound given my retrospective analysis on my experience with the matrix of oppression. But what is it that lies at my core? Profoundness, impact, and time is all we have in this life. Don’t let it slip between your fingers.

“It wasn’t exactly that I felt alone. But my dad once told me that in this life certain people are marginalized with the dichotomy of your differing cultural backgrounds, by the white man, but we must trudge on in the name of progress.”

I am merely a fantasy and I was reminded of such, by things I would be told. You are different. You are exotic. You are white-passing. You seem old for your age. Do you even exist?

WHO AM I?

1 2 3 4 5 6 7 8 9

LOCKDOWN BREAKDOWN THE CRY HEARD AROUND THE WORLD COCOON OF SOLACE SURVIVING PURELY OUT OF SPITE IF I STAY HERE I CAN’T GROW SHADOW WORK SHIFT YOUR FOCUS COMING HOME 13

sSTITCHED t i t c hed

Director and writer: Draken Reeves Photographer: Jacob Lagmay Model: Zamilla Lugg Take a moment to think about how you perceive knitting. More often than not, in a Eurocentric ideal, we think of knitting as an idle hobby by older white women. We think of patterns and knits that scream tacky or kitsch. However, like many hobbies, the range of identities span a multitude of ethnicities, gender and sexual identities, and religious backgrounds. The community is a vibrant, ever growing craft movement that has bolstered international recognition through the internet. For the last two decades, many knitting communities have gathered on Ravelry, a website made with the purpose of sharing patterns and for designers to show off their work. These tight-knit communities however, are not without their internal issues, especially in terms of BIPOC representation. Due to the idea of knitting being rooted within the concepts of whiteness, many BIPOC designers and knitters face microaggressions, fetishization, and erasure by white designers. When unraveling the root cause of BIPOC erasure in knitting spaces, it’s important to understand the documentation of the history of knitting itself. Historical documentation and preservation of knitwear is difficult, as wool and string easily decay. Many knitting traditions have been passed down orally and through practice, keeping the pattern alive through shared experiences. Prior to the 1990s, research beyond English knitting was less researched. Author and textile researcher Irena Turnau states in her book “The History of Knitting Before Mass Production” that the basic definition of knitting itself is tricky to determine. Turnau defines that knits are based on stitching an unlimited string in an elastic formation using one or two needles. This definition can be applied to many crafts, however often gatekept to exclude non-Eurocentric ideas of knitting. In her book, Turnau states crochet is made to be “decorative” and does not count in the industry. Crochet was developed most likely from Chinese needlework, as well as Turkey, India, Persia and North Africa. Many iconic fashion pieces that come from designers of color are crochet, such as the rasta cap. Turnau gives a definition that ultimately excludes the work of POC, thus gatekeeping what knitting is, which is a common issue within knitting spaces. 15

The diminishing and labeling of certain knit crafts as “kitsch” is a common microaggression within knitting spaces. Black researcher and knitting activist Lorna Hamilton-Brown details the history of knitwear outside the Eurocentric perspective and breaks down the erasure of BIPOC voices in knitting communities in her acclaimed MA dissertation “Myth: Black People Don’t Knit.” Hamilton-Brown highlights that herself and many other women of color have brought knitting down orally. Her mother describes how in Jamaica, knitting and handicrafts were an important part of creative culture, with the process including tearing apart flour bags and knitting garments from the materials. Many women in Jamaica and Kenya would knit whichever way they could, sharpening bicycle spokes or using ends from a broom as needles. These ideas are not passed down through documentation, but through oral traditions, a practice that is not exclusive to African and Caribbean cultures. One of Hamilton-Brown’s students stated “there are no knitters in his homeland, Vietnam. [When] asked [if] his mother knit, he said yes, and she learned from her mother.”

Countries that have faced imperialism and colonization have had knitwear culture systematically erased through the popularization of myths that people of color don’t knit, although their designs have had massive influence on popular fashion culture. For example, the patterns of Cowichan Knitting, developed by the Cowichan First Nation in British Columbia, were heavily popularized in the 1920s and ‘40s. Many corporations and early mass production companies imitated the patterns of Indigenous designs and spread it out all over North America. Today, Eurocentric perspectives have diminished these designs to “vintage” or “kitsch”, with a complete lack of respect to the original designers. So you may be asking, why is this so important? The answer is several key reasons. In contemporary high fashion, many designers and celebrities are seen showcasing distressed knits, breathing new life into the mass knitwear industry. As the popularity of knitwear grows, so do the hobby spaces, where representation matters. Sites like Instagram and Ravelry have had many cases of predominantly white knitters fetishizing and tokenizing BIPOC voices and designs, perpetuating further myths that POC do not knit. The initiatives created by POC on these sites focus on educating hobby spaces and the general public on issues of design voices, breaking the ideas of whiteness that have been woven into knitting as a whole. Knitting activists like Tina Tse (@tina.say.knits) of Unraveling Mag are creating space for BIPOC designers to showcase their work and give an opportunity to reach financial success they would not hold compared to many white knitters. Knitting is a warm activity, full of international cultures and intersectional ideas, passed down in a familial way. As it expands in reach, it’s important to celebrate and recognize the work of voices who have been systemically erased from society. If you show anyone who is interested in picking up a pair of knitting needles and yarn, make sure to support your local BIPOC designers, who have been passing down these patterns for centuries and continue to for many to come.

Ae sthetici ze Director and illustrator: Lanikai Yatomi Writer: Naomi Kleinschmidt

Throughout the pandemic, we have seen numerous people find their own style within the confines of quarantine, reaching towards certain trends and aesthetics. Here are three students at OSU who have been exploring new ways of dressing this past year.

Shayla Nguyen Shayla Nguyen is a first year student at OSU majoring in Liberal Studies. She has recently been working to adopt the dark academia aesthetic. Like many people, Nguyen’s aesthetic has gone through many changes since quarantine, where the process of acquiring dark academiainspired pieces began.

How would aesthetic?

you

describe

your

I am still in the process of building my closet, so I don’t think that I fall into a single style. However, with the current stage of my closet, I would definitely say that my pieces call for a dark academia aesthetic. Over this fall and winter, I was able to pick up blazers, turtlenecks, and plaid pieces that really help build up this aesthetic. I think it will be harder with the warmer seasons to keep up with this style because it contains a lot of layering pieces. However, I am excited to still opt for the darker palette in the upcoming months.

Which social media platforms have most influenced your aesthetic if any? And how so? Pinterest! I think before I started to use it, I didn’t really even know what dark

academia was. I used it a lot when I was first trying to build up my closet. I would look at the pictures to see which pieces were most prominent in the dark academia style, and I would go out and try to only purchase those items. It was a great way for me to find my initial aesthetic and prevent myself from buying trendy pieces I wouldn’t wear after a few months.

How would you say your aesthetic has changed or evolved throughout the pandemic? Has social media mixed with being in quarantine been an influence on your aesthetic? I think I started to shift my aesthetic towards dark academia right at the start of the pandemic. Like I said in my previous response, I definitely didn’t have a style before. I think what was in my closet was what was available at the mall. This transition from trendy clothes to dark academia resulted from malls closing and the pandemic restrictions. Yes, I think social media mixed with being in quarantine has been a great influence on my aesthetic. Pinterest started to become one of my most used social media platforms over quarantine. At the beginning of quarantine, I would only look up “dark academia outfits” and pin those. Now, I still definitely have a lot of that style in my boards, but I also see variations from other styles in my moodboards too!

Which pieces of clothing in your wardrobe do you find yourself reaching for most often? I reach for my black blazer and tan Converse a lot. Both of these pieces have a neutral palette that makes it really easy to style with statement pieces.

Claudia Lamarre Third year OSU student Claudia Lamerre has a unique style has changed a bit throughout the years, but it has always been an outlet for self-expression. Social media has played a unique role in Lamarre’s style since the pandemic as well.

How would you describe your aesthetic? I was low-key kind of thinking about this question. And I was like I have no idea. I kind of like just wear things that I think look cool. I think it is just kind of androgynous. I just wear clothes, no matter if it is “guy” clothes or “girl” clothes or whatever, I just wear clothes. It’s very androgynous, it is never too masculine or feminine.

I love that. I think I saw that Pacsun just came out with a line that was just for everybody. Yeah, which is what I like because I just like clothes, which I feel like everyone should. I just feel like what you think looks cool.

Has your aesthetic or style always been the same? No. Actually, maybe. People would definitely call me a tomboy, I definitely dress like a tomboy. Like as I got into middle school and stuff, I started discovering leggings, crop tops and skirts, and all that stuff. And I definitely feel like I got into this aesthetic when I got to college. Even in high school, I definitely gave up on looking good. I literally used to wear leggings all the time and big jackets. I would honestly say that not even that long ago, maybe a year and a half ago, I got into color matching and deconstructing my clothes, and making them look cool. I think about my brother in a way because he is a hypebeast, if you want to say. He likes to style all those kinds of things. So, I would always just steal his clothes and stuff like that. I didn’t like care. I would just be like this looks cool, and that is what I kinda did.

Which social media platforms have most influenced your aesthetic or style if any? I would probably say like Twitter because it is my favorite app of all time. But what is cool is right now, I would say like Snapchat, I am in this group, like you know how Snapchat has stories and stuff like that, like anyone in the group, can add stories. I am in this one called “Fits Fam” which is just a whole bunch of people around like Oregon and stuff, and they just go around and post their outfits. It is honestly really cool, my friend made it, and she is really cool and dresses so cool, I think. She was like, if you want to join this story and post your clothes, you can. It’s just a bunch of people like showing their fits. There are probably like seventy people on it.

Have you seen more, I guess like popularity around how you like to dress and your style, becoming increasingly popular on social media? For sure, for sure. It is definitely weird for me because I always show my midriff like that is my things, and I just started getting into baggy clothes. I have definitely seen more baggy clothes.

Do you have any style influences in your life? Do you like go off a lot of your friends outfits, or I guess like you have that Snapchat group, but like personal people kind of, like your brother? I would say my brother, yeah. And honestly, a lot of the friends that I have dress really well. I always say that. One time me and my friend Maya and Ally were walking inside Target, and we literally tweeted about this, it’s funny. These three little girls were like, “Oh my gosh, we love the way you guys dress, you dress so cute,” we were like, “Oh my God, this is like who we do it for.” We thought that was so cute. I would say that we all dress well. We all kind of dress different, in some ways, but we all share clothes, that is the thing. We all just kind of have different aesthetics.

Sienna Rose Kaske Clothes have always been an important part of selfexpression for fourth year OSU student Sienna Rose Kaske, who is majoring in Ethnic Studies and Writing. Bold colors and prints have always been a big part of Kaseke’s style.

How would you describe your aesthetic? It is so hard to describe sometimes, because I feel like if I am having an off day, my aesthetic might be my sweatpants and my favorite sweater, but when I am feeling myself, I really love bold colors and fun prints. Kind of having this I don’t give a fuck attitude. I am really inspired by Joan Jett [who] was my first crush, I grew up around many different styles of music. My step-dad was in a punk band, and my mom really loved the Chicks, so like country, and my dad was really into hip hop and rap. I grew up around these varieties of cultures and music that entirely shaped my aesthetic. I love Michell Gonzalez from Spit Boys and just like in high school, figuring how who I wanted to be and what clothes can tell, or what people can tell from my clothes, because I love starting a conversation based off of something I am wearing or connecting with other people about what I am wearing, because I think you can tell a lot about a person from their style. I try to be unapologetic and authentic in whatever I wear and do, I think bold colors and prints allow me to express that with fashion.

Has your style/aesthetic always been the same or has there been ever any really big changes? Like maybe you never cared much before? I definitely did care, I can’t sit here and lie to you. I totally had a breakdown the other day, I was like I hate what I am wearing, I definitely have those moments, I think for me, when I was growing up a lot, I got to express myself through clothes. In third grade, I had my Avril Lavigne phase, but then when I got to middle school, I was like I am trying to redefine who I am that has always stayed with me. I would have to say recently, my style has really stuck. I think that is because I am getting older, like I am about to graduate. That feels so weird. Thinking about how I am an adult right now, but I am not actually an adult. I think that right now, I am creating and sticking with the style, so I would definitely say long jackets, and bright fun jackets. This jacket I wear is black with flames on the sleeves, and it was so iconic for me. People would be like, “Hey, that’s a nice fire jacket, or hey, you’re fire.” I am also an Aries so yep, I have a candle next to me, like yep fire. I think prints that just are fiery and bright and bold have really stuck with me. But like bold will be like one thing with my outfit though. If I am going to do a cowboy 22

boot, then maybe I will be more subtle with everything else. It really just depends on how I am feeling but bright in your face things.

Has social media played a role in your style and just wearing what you want over the pandemic? Yeah, social media is constantly influencing me because I am always on it. You know it is a factor of my day, and I have a lot of friends, and I connect and learn on social media, and find out about things, but totally. Like when cottagecore was like really big, last spring, I don’t know when, I feel like it still is, but I was like oh my gosh, I want to do that. That looks so fun, can I like live in a cottage? I feel like social media shows what’s in style and cute right now. I was totally down for cottagecore, I like wanted to move to a cottage after that, so I would definitely say that it has influenced me.

Who are your three biggest influences on the way you dress? Like I said earlier, Joan Jett is like such a big crush, she also helped me figure out a lot of things about my identities. I would definitely say her. I would also say probably my grandmother’s, which is an odd thing to say, but on both sides, my mom and my dad, both of my grandmas, have a don’t give a fuck attitude. That attitude has a lot to do with what I wear.

How has going to a rural university like Oregon State impacted your style? College, especially being in a college town at a four-year college, getting that experience. I got really involved at OSU. I had to go to a lot of meetings that were really hard, or that I had to be really tough, and not cry and be emotional. There were definitely times that I did cry, but clothes allowed me to feel empowered and powerful walking into a meeting that I was talking to people who did not look like me or see the same things. I had to convince them to bring access to something or a different resource. I would say that is why I started buying cool jackets or a fun boot, or like my mushroom scarf. I got this scarf from my grandma, and it is a mushroom pattern, and I wear it like religiously. Like it is something about me where I am like yeah, I can wear this, and I am going to school you on critical race theory or like you know something like that. It still allows me to be me, but I am like yeah, mushroom scarf, we got this.

B U D D I N G VITALITY

Director and photographer: Claire Nelson Writer: Gabrielle Nedney Models: Doran Trueblood, Lani O’ Neill, and Wintre Nees

For about a year now, it has been winter. Not winter as in snow, candy canes, and hot cocoa, but as in sweatpants, comfort food, and sleeping into the afternoon. To Mia Moses, a student here at Oregon State University, that was heaven … until it wasn’t. “At the beginning of [the COVID-19] lockdown, I loved it,” she explained. “I slept and relaxed so much, but now I tend to get really down and depressed when I am by myself.” Before the pandemic, social interaction was a daily practice for the majority of people. Shaking hands before an interview, hugging a friend, and even smiling at a stranger on the sidewalk were all normal occurrences practiced without a second thought. Now these things, once taken for granted, are pushed aside to follow state restrictions and to keep people safe. Not having this constant human interaction affected a lot of people. “I learned that I am a very social person,” said Moses, “And that this lockdown really took a toll on me.” Michelle Hulliet, a communications instructor at OSU, described how the extended lockdown caused many people to feel lonely and isolated. “It can make us feel disconnected from others,” she explained. “Even when we might be communicating on FaceTime and Snapchat, we can still feel disconnected when we don’t have the physical presence of someone.” However, things are beginning to turn around as vaccines become available to a growing number of people. As of April 19, 2021, everyone 16 years or older was eligible to get their first vaccine shot in Oregon. The line on the north side of Reser Stadium has continued to grow as OSU students, staff, and Corvallis families alike line up for their shots.

“I am most excited about getting to have in-person events again,” said Grace Holmes, a student at OSU eagerly anticipating her vaccine appointment. “Obviously I’m excited for in-person classes, but I feel like I missed out the most on getting to go to events with my sorority and attend club meetings. I miss being able to meet new people without having to worry about who I can trust.” Though vaccinations may mean going to in-person classes and attending group events, there will still most likely be restrictions in place, and people will still be cautious. “There will be people who won’t get vaccinated and there are precautions to be made because of them,” continued Holmes. “But I also don’t think that people will be comfortable going from little-tono interaction to large groups right away.” Because it has been such an extended time in separation, normal things like physical touch will likely become less common. “Those of us who are really impacted by the pandemic might [have] an increased sensitivity to touch in terms of wanting to be more careful,” Hulliet pointed out. “There are people who may be a bit scarred from that and want to still keep some distance.” As we move forward into the spring and summer, it is important to remember that everyone had a different experience with the pandemic; some struggled more than others. Before we continue as we did before COVID-19, remind yourself that kindness and compassion are key in helping others remove their winter coats and step into the new season.

Modeling In A Ne

Director and writer: Avery Hadley Photographer: Kyle Schwer Model: Misha Kurita

ew Age Misha Kurita is an artist born and raised in San Francisco who loves to explore different mediums. She finds inspiration in nature as well as her community for her writing, clothing, and other forms of artistic expression. For you as a student, as a model and as a designer, how have the events of last year affected you? I would say I take a lot of inspiration and joy from being outdoors and in nature, I think it‘s hard for everyone to be kept indoors, you’re comfortable there, it’s a space you’re familiar with but it’s not always inspiring or taking you out of your comfort zone and you are not being greeted with new inspiration or new ideas. It’s also impossible to collaborate, people are getting used to working with one another on the Internet, it’s definitely different.

That’s a great answer, reflecting on the past year with modeling, what has that looked like for you? Mostly it’s been collaboration I do with photographers that’s typically not paid, it’s just a photographer who wants to do shoots for fun and it’s usually over Zoom. It’s very weird, posing in front of your computer screen and someone is taking a photo of you through their computer screen. It’s cool though, I think it’s representative of the time, the photos and the styles are more relaxed and you can’t have some big elaborate photoshoot, so it’s usually you on your porch in your own outfit, which is more comforting.

That’s really interesting, as a follow up, regarding the DAMchic shoot, how does it feel getting a bit back into a more traditional modeling environment? It’s really fun, I think I have realized how much I love collaboration and collaboration through art, creating art with other people. There’s definitely an element of closeness in age and we have some similar interests and because of that there is a sense of community that is born in a shoot closer within your age range and have similar aesthetics and ideas, it’s really fun to do and I think it feels more like friends creating art together instead of professionals trying to achieve a goal. 31

Most definitely see that, and agree as well, how has your design process changed during this time? I have become much more reliant on the Internet and social media for creating mood boards, usually I really like to go out in nature or into my city and take photos of all the colors and textures, but being at home it’s been more about watching movies and [browsing] Instagram, even Pinterest boards, and I have also spent more time learning to draw digitally, so there is definitely a shift of what I am focusing on and what I am looking towards and try to figure out online portfolios, making that shift toward the Internet and the future.

I am sure most creative people could agree with you, with inspiration coming largely from Instagram and Pinterest. How do you think that being a designer impacts you as a model? I think that I have a much deeper appreciation for the work that goes into the styling, [and] clothing construction even, I think I really do appreciate more the small details in the garment I am wearing or a vision someone wants to create. I know within my own clothing I want to have this feeling, a general experience of what this clothing is supposed to give to other people and I realize that in a photoshoot you are participating in a vision in that sense of feeling that you want to create when people look at the image, and so there is definitely an element of respecting the vision of the designer or the director that I didn’t really realize before, I think it makes both of those better and more special.

Oh I love that, I definitely think working with you was fantastic because you were such a natural, I don’t know if that’s stuff you have seen before or if it was something you’ve done in the past, but it made the process so easy and just a very enjoyable time. It’s surreal to see a concept that I have been working on the past month coming to fruition with someone who has their own vision and it collides with mine to make this very beautiful marriage of ideas that made it work so well. My last question to you now is simply how do you think modeling is gonna change moving forward? Is it going to go back to normal or do you think this time has at all altered that sense of normal? I wanna say that with quarantine in the process of photo shoots being altered, there’s going to be more and more of a shift away from general conventions of what a model is, what they’re supposed to look like and how they’re supposed to behave. They have definitely been transformed by quarantine, there’s always been this sort of unspoken rule of having to be really thin, you have to be really cool with everything and down to do whatever someone tells you. I think that there’s a shift because having to do everything over the Internet has relied on communication and collaboration with models, it humanizes them in a way. I think that often times when we look at a photo we don’t realize that the person in the photo is a human being with thoughts and feelings that they have brought to the photo and I think that’s changing, and I think people are starting to realize that it is a creative outlet and that modeling is a expression of creativity and expressing oneself and not just a pretty image.

“ [..] I think people are starting to realize that it is a creative outlet and that modeling is a expression of creativity and expressing oneself and not just a pretty image.”

Photographer: Aaron Sanchez

Models: Kamya Chandra, Anna O’ Hehir, Sneha Menon, and Claire Glazer

AN ANGS OF RED

Director: Kheilan Kussalanant

D When thinking about the theme, Metamorphosis, the query of real change came to mind. What truly makes us advance, evolve into a better version of ourselves? Circumstances? People? A pandemic. Being thrusted into a false reality of solidarity, time goes by and our fixation for freedom and normalcy extends further into the depths of our newly formed cocoon. Entering a state of stasis. As the pandemic comes to a slow halting, feeling the clutches loosening on ourselves, we are eager to escape the shell we’ve been confined in so long. In order to capture the angst, and distinguishable desire to take back our lives, I wanted the models to present themselves in a manner that was powerful. Letting people acknowledge the sacrifices, struggles, and strength needed to keep moving forward. Using that power we are able to unhinge ourselves, flourish, and find those hidden crevices that allow us to express ourselves in ways unimaginable. I think an artist’s best work can come from struggling and being able to create within a confined area - physically or mentally. It is by opening these hidden doors that we can further develop our styles. 37

emergence: AAPI Women Designers Director, writer, and photographer: Lyanna Hoang Models: Winnie Woo and Nitya Patil

April 23rd, 2021. Senate passes the first bill ever to target anti-Asian hate crimes in response to a 150 percent increase in violence against Asian people in America in 2020. Anti-Asian sentiment has been highlighted during the COVID-19 pandemic. Many of these hate crimes have been directed specifically at women and the elderly. In this spread, we want to address the intersectionality of oppression that arises with what it means to hold both identities of being a woman and being Asian in America. We are highlighting AAPI women designers who have taken on the stage in their representation within the creative industry.

The elevation of women AAPI designers and their voices matter in our journey to reclaiming our identities against the Model Minority narrative. Shirley Tang is a New York based designer who created the brand, ORIENS. Since establishing her brand just this past year in 2020, she has been featured in British Vogue and has commissioned for celebrities including SZA, Kali Uchis, Devon Lee Carlson, Madison Beer, and Aleali May. She describes ORIENS as “embodying the idea of change, future, biology, and newness.” These ideas are reflected in how her work focuses on svelte cuts following the silhouette of female bodies. Her pieces often show raw hems, emphasizing this organic and anatomical aesthetic.

Hyein Seo graduated as a top student at the Royal Academy of Fine Arts at Antwerp, gaining notoriety before she even finished at her program. Her clothing line features dramatic and unique silhouettes, drawing inspiration from avante garde fashion but making it ready to wear with its streetwear influences. There is a focus on the ideas of counterculture style and rebellion in not only her pieces but also her brand’s marketing. This is evident in the motif of adolescence to womanhood across her line, pushed by a dystopian aesthetic. Siying Qu and Haoran Li’s Private Policy has been featured in Vogue and Metal Magazine. Their collections target and address different socio-political issues; and this advocacy has been the backbone of their brand. The Fall/Winter 2016 collection drew inspiration from the film, “Snowpiercer,” which explored classism.

The collection reflected this by mixing together and juxtaposing “high” and “low” fashion within the pieces. It highlights everyday pieces like bomber jackets but are constructed from what is traditionally considered high-end materials such as velvet and silk wool. Other issues explored in their collections include globalization, the pharmaceutical industry, and labor conditions of enslaved fishermen in Southeast Asia. A common theme that further pushes social ideas surrounding gender and tying all of their collections together is a focus on gender-neutral clothing, blurring the lines between masculine and feminine structures. These are only a few of the Asian American voices that are currently rising in the fashion world. But their creativity and boldness give insight to what the AAPI community holds and will continue to contribute to this industry.

@DAMchicMagazine