Crescent: Rebellion

CRESCENT

Photographers

LILY DO

EVA EPLEY

SOPHIA IQBAL

KELSEY KURZ

BELLA LEKAS

JULIA PROWINSKI

LAILA QUREISHI

SOPHIE THONGVANH

EVERGREEN WINTERS

HAIR AND MAKEUP

SEQUOIA ALONSO

DAVID MOIR

KATIE PRUYN

MEMBERS

Board

Editor in Chief

SARAH HUTH

Vice President

OLIVIA SNODDY

Article Editor

ASHLEY WILSON

Photo Editor

SOPHIA IQBAL

Models

LIL BAUER

ELLA

LUNA ECLIPSE

GABRIEL

SARA JOHNSON

SOPHIA PETRIDIS

BIANCA RICHARDSON

KARAGIN RUFF

ETHAN SILK

CHRISTA SULLIVAN

MARY TUTTLE

EVERGREEN WINTERS

Cover

ART DIRECTOR: CEE PHAM

PHOTOGRAPHER: KELSEY KURZ

LIGHTING ASSISTANT: MASON ATTARIAN

HAIR: AUDREY QUIST

MAKEUP: DAVID MOIR

STYLIST: HANNAH STRIEBER

Graphic Design

Kathryn Tlapek

Jordyn Wolf

Heather Wright

Writers

ABBY CAVANESS

SARAH HUTH

KENDALL ROZEN

KARAGIN RUFF

ASHLEY WILSON

STYLISTS

SEQUOIA ALONSO

SOPHIA PETRIDIS

ETHAN SILK

VALERIE

Thank You From the Editor

Rebellion is a word that holds so much weight, especially in today’s political climate. People are being limited on what they can wear and who they can be. Fashion tells a much bigger story than the pieces of fabric someone puts on; it serves as an extension of one’s soul. Fashion allows people to express themselves in ways that can’t be put into words. No one style can define the magazine, so we tried to include as many as we reasonably could. This issue delves into different styles, from goth to cultural clothing to drag. Feeling comfortable in your clothing is the most important aspect of getting dressed in the morning. Always remember to dress how you want to. Don’t let anyone dim your sparkle.

Many thanks to Jen Finstrom. She has been here since the beginning and has counseled the board. She has given her positivity and encouragement that has made the magazine possible.

Many thanks to Olivia Snoddy for stepping up when I needed her to. She is such an amazing addition to the board, and I am excited to see what we come up with this upcoming year.

Many thanks to Ashley Wilson for taking on random roles that needed to be filled.

Many thanks to Heather Wright, Jordyn Wolf, and Kathryn Tlapek for joining the team as our graphic designers. This would not have been possible without all of your hard work.

Many thanks to Sara Johnson and Bella Lekas for their positive attitude and general optimism for the magazine and our meetings. Lastly, many, many thanks to the members who came to every meeting this past spring quarter. The club became quite small at the end, but every single member brought enthusiasm, great ideas, and fantastic, positive energy.

The glass ceiling, housing centuries of conforming societal standards, demands to be shattered by those who refuse to become subject to its ever impending pressure.

Rebelling against systems materializes in a variety of forms, as unique as the communities that exist within them. Living and pursuing one’s purpose requires both the acceptance and rejection of societal expectations. Human existence coincides with the implications of societies’ presumptions. When one acknowledges and accepts the challenge of defying expectation, what becomes of it? What does it look like to break free, to redefine one’s path, to rebel…

FThose style story, materialized past of societal of becomes between of walled

CONTENTS

01. Skating in Circles

Photographer: Lily Do

Model: Sara Johnson

Stylist: Olivia

Words: Lily Do

02. Embracing Sexuality

Photographer: Eva

Models: Ella & Karagin Ruff

Words: Karagin Ruff

CONTENTS

03. Slumber Party

Photographer: Sophia Iqbal

Models: Christa Sullivan & Mary Tuttle

Words: Ashley Wilson & Sarah Huth

04. Prom Royalty

Photographer: Julia Prowinski

Hair and Makeup: Katie Pruyn

Stylist: Ethan Silk

Models: Ethan Silk & Gabriel

Words: Katie, Ethan, Julia

CONTENTS

05. Queer Rebellion

Photographer: Laila Qureishi

Models: Luna Eclipse, Brooke Vogel & Lil Bauer

06.

Not A Phase

Photographer: Sophie Thongvanh

Models: Sophia Petridis & Gabriel

Stylist: Sophia Petridis

Words: Kendall Rozen

CONTENTS

07. Standing Proud of Our Culture

Photographer: Sophia Iqbal

Models: Bianca Richardson, Rabia Azhar, & Mary Tuttle

Words: Mary Tuttle 08.

CONTENTS

09.

Maximalism

Photographer: Bella Lekas

Model: Amanda Fong

Hair: Audrey Quist

10.

Love for All

Art director: Cee Pham

Photographer: Kelsey Kurz

Lighting Assistant: Mason Attarian

Hair: Audrey Quist

Makeup: David Moir

Stylist: Hannah Strieber

Model: Evergreen Winters

Words: Ashley Wilson

CONTENTS

When planning this shoot, Sara and I really wanted to play around with feminine presentation in typically masculine spaces. I wanted to dress my model in hyper-feminine clothing, makeup, and hair, and place her in a skate park. Our makeup artist, David, executed my vision of a bold look using heart stamps, pearls, and gems. The team pieced together an early 2000s-esque grunge outfit. Skate parks have always been male-dominated, and the stares Sara and I received on shoot day were evidence of the rebellion in simply existing in a feminine way in a place like this. Skateboarding began as a rebellious sport, so I believe that skate parks should be a welcoming space for all to rebel together unjudged by the expectations of daily life.

planning this shoot, Sara and I really wanted to play around feminine presentation in typically masculine spaces. I wanted to dress my model in hyper-feminine clothing, makeup, place her in a skate park. Our makeup artist, David, vision of a bold look using heart stamps, pearls, and gems. pieced together an early 2000s-esque grunge outfit. Skate always been male-dominated, and the stares Sara and I shoot day were evidence of the rebellion in simply existing in in a place like this. Skateboarding began as a rebellious so I believe that skate parks should be a welcoming space for all to rebel together unjudged by the expectations of daily life.

FromSleepwear to Streetwear:TheSlipDress andR

Whether you’re dressing for a night out or a night in, there’s something sexy about wearing a slip dress. The slip dress has returned to prominence as a fashion staple because of its styling versatility. It can easily be dressed up with heels and a statement jacket, or dressed down with sneakers and a sweater. What really makes the slip dress iconic is its ability to help redefine the ways those who wear it express their sexuality through fashion. From its modest origins to its scandalous popularity, this piece has truly been revolutionary.

The modern form of the slip dress was created in the 1940s. It is thrown over the more sensual undergarment in the day, but at night, in the privacy of one’s own space, the slip dress would be revealed in all its glory. At this same time, in Hollywood the slip dress was the most risqué and vulnerable outfit a character could wear. Films sent the message that slip dresses were inherently sexual. The garment was used to show both emotional intimacy and sexuality which lead to empowerment of the wearer.

Now we see a variety of slip dresses: some short, some long, some sheer, some velvet, all being styled to the wearer’s aesthetic. Any of these options and every variation in between are beautiful. So next time you slip into a slip dress, remember the power it holds simply because you are wearing it.

In a world that is so heavily based on the continued strength of the patriarchy, embracing things that are considered feminine can be looked down upon. For some people, they have been shown that their femininity is weakness, and therefore shut off parts of themselves in an attempt to protect themselves.

To challenge thisidea,embracing femininity is not weakness. If anything, it is embracing the strength that comes in having a community built around you, of those with similar identities that have faced similar issues.

Sarah Huth, our president, has shown a huge commitment to creating this community with Crescent. In the last few years that I’ve had the privilege to get to knowandworkwithSarah,shehas nevershiedawayfromexpressing herself through her fashion.

She has used her love of fashion to build a community around the idea of self expression. In the ways that she consistently shows up with astylerepresentativeofherself, she sets a model for what the communitycanandshouldbe.

Fashion is a way for people to outwardly express their emotions and identities and presentintheworldastheyare. So,topresentassoft,emotional, warm, and feminine, even in a worldthatsooftentriestobreak down feminine identities shows somuchstrength.

NOTES

This shoot was very demanding in terms of hair and makeup. Luckily, our stylist and model, Ethan, was a huge help in providing us access to wigs and all the glitter one could need. Hair and makeup quickly became a collaborative effort between everyone involved. It was important to us to stay true to the concept of our shoot while complimenting the clothes as well as possible.

For styling purposes, this shoot was very intensive, with 3 costumes per model. We kept the energy strong, having encouraging words and positive affirmations towards both models. Gabe and I persevered in the end, having a great time with the clothes and the set. Pulling together 6 different outfits was very difficult, and I could not have done it without the help of my mom, who lent clothes and input. Doing this shoot was a whirlwind and blast, and i couldn’t be happier.

Q U E E R

R E B E L L I O N

The punk movement is a unique sociopolitical movement that has become an iconic symbol of rebellion and unrest in both the United Kingdom and the United States. The punk subculture arose in the 1970s in Great Britain with the popularization of bands such as the Sex Pistols and The Clash.

Themovementwascreatedbythelowerclassinprotestofthecorruptpoliticalandeconomicsystemsinplace.Punkmusichasnihilistic themesthatcriticizethegovernment,predictourinevitablesocietalcollapse,andportrayagenerallygrimoutlookforthefuture.Thefashion choices of the punk movement reflect these intensely cynical emotions. Theirrebelliousspiritwasdemon-stratedthrough themusic andfashionchoic-esofthelow-erclass.The punkscene spreadlikewild- fire to the Unit-edStates, wheretheyouth quick-ly latchedonto thepunkaesthet-icanti-authoritariansenti-ments,and rebelliousunder-tones attachedtoit.

Those who participated in the movement freely expressed their political leanings through their clothing, which is why their sentiments spread so quickly. Their recognizable style acted as advertisement for their cause.

Punk fashion was created in direct opposition to the societal norm, and was an essential aspect of the sociopolitical movement. The subculture could be identified by distinct aspects, such as thick-soled large boots, ripped jeans, leather garments, facial piercings, and vibrant hair colors and styles.

The Punk movement is not just the fashion, the music, or the political leanings, but an intersection of all of these aspects. This is what makes punk culture so distinct, even in the 21st century. Participants of the punk movement were able to utilize fashion to express their views on society and politics in an attempt to make a point, which can be an extremely effective tool.

When one they aren’t their traditional set a norm business then traditional its own category. dressed up native clothing be the case. represents it’s a part one feel connected

In a perfect world we would in their traditional clothing such as going to school, getting station, riding the train home be stared at and questioned would be accepted and as

one is moving through the day aren’t seeing individuals wear traditional clothing. Society has norm for what’s considered wear/everyday where, and traditional wear falls within category. One is seen as up if they are wearing their clothing but that shouldn’t case. Traditional clothing represents where one came from, of their history, and makes connected to their roots. would see men and women clothing doing everyday activities getting snacks at the gas home for work.One wouldn’t questioned about their clothing, it as normalized as leggings.

For this shoot the models are in their traditional clothing riding the train and at the gas station to represent diversity in everyday settings. All around there are people from different backgrounds and wearing something that’s a part of their culture should be normalized. Which was the concept of this shoot, seeing one in their everyday routine wearing clothes that represent their culture.

Traditional clothing represents where one came from, it’s a part of their history, and makes one feel connected to their roots.

In a perfect world we would see men and women in their traditional clothing doing everyday activities such as going to school, getting snacks at the gas station, riding the train home for work.

When planning this shoot, I wanted to create juxtaposition between surroundings and the outfit. Home is a place where I can exist as my most authentic self in the safest way, while also being confined to the home. The colors of the transgender pride flag are portrayed throughout the makeup and outfit, with a pink lip matching the skirt. I wanted to contrast feminine clothes and makeup with traditionally “masculine” legs and facial hair, showing that trans people exist outside of the hyper feminine and hyper masculine binary. I don’t fit into the “typical” trans box. I am me.

In recent years, the maximalism trend has reemerged in society. From fashion to home decor bold colors, patterns, and textures have been taking over the world. Maximalists draw inspiration from many styles and subcultures, such as Harajuku street fashion in Japan.

The Harajuku district is well known for its “over the top” fashion, which first became noticed in Japan in the 1980s. The subculture in this area doesn’t focus on a specific style, but rather the freedom of expression that comes with wearing the clothes that make you feel happy. With Harajuku there is also a huge focus on breaking from the expected norm, creating trends rather than following them.

Along with many different subcultures that have gained renown, there is also an overall newfound love of maximalism. With this revival, there is also a major increase in the dialogue surrounding what exactly the style is. A major example of this came about with the 2019 Met Gala and the theme of “camp” creating a lot of discourse. Camp has never clearly been defined, and for that reason a lot of gala attendees missed the mark.

Although critics of maximalism tend to comment on the supposed unnecessary excess the style encourages, the intention is almost the opposite. People who are considered maximalists tend to have a well constructed personal style and a comfort with their sense of self.

With general increases in the usage of social media platforms, maximalism has garnered even more attention. Due to the fact that maximalism is so free to personal expression, there are so many different versions and twists to the style.

Along with focusing on personal expression, many maximalists also work to be more environmentally friendly with their styles. Many turn to thrift and vintage stores to craft their unique looks, along with creating handmade/ homemade pieces that are reflective of their taste.

Maximalism is not about an excess of things, and it never has been. It’s about creativity and self expression through fashion and way of life.

As more awareness has been brought to the LGBTQ+ community in recent years, there have been many movements throughout society to create more inclusive spaces for queer people. One of these spaces that still may be falling behind is the world of wedding planning.

Although gay marriage was signed into legality with Obergefell v. Hodges in the U.S. in 2015, many queer couples have still faced discrimination, homophobia, or transphobia from wedding vendors. And as if there is not enough stress surrounding wedding planning, these barriers can be extremely harmful for LGBTQ+ couples.

With wedding planners such as Ainsley Blattel (featured in Buzzfeed) who are encouraging queer couples to really embrace their identities on their wedding day, there have been some fashion designers who have made a true effort to create spaces for this self expression.

Sources such as Insider, Refinery29, the Washington Post, and BuzzFeed have published a variety of articles on “red flags” in terms of wedding vendors, along with articles on wedding planners who are attempting to create safe spaces for queer couples.

One of these brands is called Queera Wang, and was created by Curtis Cassell. Cassell’s work has been worn by gender-binary breaking icon Billy Porter and has been featured in a Vogue article.

Cassell started brainstorming for the brand while working as a wedding caterer. In conversations with queer colleagues, Cassell started sketching conceptual ideas that would match the many unique identities reflected around him.

So although inclusivity for the LGBTQ+ community has come so far in recent years, there is still so much change that needs to be made. Queer couples deserve to go through the happiest day of their lives in clothing that reflects their unique identities.

“I’m trying to dress queer kids for prom and homecoming. I want to dress couples for their wedding. And the red carpet,” Cassell said in the Vogue article. “I want my brand to be heavily involved in the LGBTQ community. That’s very important to me.”