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Who to Thank for This Issue Editor in Chief: Sarah Huth Article Editor: Ashley Wilson Photo Editor: Sophia Iqbal Layout: Sarah Huth & Sophia Iqbal with help from Fiona Gallegos & Ashley Wilson Head Stylist: Claudia Grzyb Vice President: Nayely Barcenas Cover Design: Emily Street Treasurer: Evergreen Winters
Cover Shoot Art Director & Fashion Stylist & Set Designer: Zoom Nguyen Model: Oscar J. Almonaci Photographer: Sophia Iqbal Makeup Artist: Mady Brenn Hair Stylist: Audrey Quist Photographers Julieanne Dworkin Sarah Huth Sophia Iqbal Will Kleihege Lindsey Koster Bella Lekas Amber Moinuddin Jim Slife Ashley Wilson
Writers Ava Van Hofwegen
Jane Hynes
Greta Pauplys Models
Oscar J. Almonaci Nayely Barcenas Rykley Braun Raul Garcia Missy Hansen Sarah Huth Brandy Johnson Sara Johnson Sophia Menchaca Yael Navarro Riley Peterson Kaia Pierce Mecca Tarrell Sahar Yusaf
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A Letter From the Editor In short, I’d like to thank everyone who helped out with this issue and everyone who supported the magazine! The magazine would not have been possible without the hard work of so many people. The issue is so beautiful, and I am so incredibly proud of everyone. The colors, the fashion, and the photography are stunning, and I am glad that people can finally see everyone’s hard work. The board wanted to experiment more with color and what we could do with restraints on the clothing, and the photographers and their teams came up with beautiful compositions and amazing outfits. Again, I am so incredibly proud of everyone who helped out. I would again like to personally thank the people in my life who have supported me and the magazine. Allie, Madison, Josie, Elena, Nicole, Ashley, and my mom (among others) all have cheered me on and supported the magazine from the beginning and have helped me to stay inspired and motivated to keep going with this passion project. I would also like to thank the board members for collaborating with me and supporting the magazine (even through the rough times).
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Contents Contents Contents Contents Contents Contents Contents Contents Contents Contents Monochromatic: Day and Night
s s s s s s s s s s
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Contents 07
Par t 1: D ay t ime
21
Ar t i cl e : Mauve Man i a
43
Ar t i cl e : Gre e n As C an B e
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Par t 2: Ni g ht
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Ar t i cl e : Monochromatic Art Piece
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B eh i nd t he C ove r Sho ot Crescent Magazine
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Photographer: Lindsey Koster Model: Nayely Barcenas
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Mauve Mania GRETA PAUPLYS
If you were dyeing fabric in 1855, you would have found the color of your next garment in a plant, insect, or other natural source. Popular dyeing options of the day included laurel leaves for green and elderberries for lavender. Since nature has a limited supply of colorants, people associated color with social class, and you would have often seen the colors of your outfit reflected in those around you. Purple, for instance, set apart the upper class in society because only the wealthy could afford to wear this rare color. Along with a limited supply of dyeing options, the color of your fabric would fade with each moment in the sun or the wash. The process of dyeing fabric and maintaining its hue required considerable skill and effort. You could not have imagined a wardrobe as bright as the tropics in the year before the discovery of mauve, the first synthetic dye.
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“Access to colorful clothing increased, making fashion more universal and vibrant.”
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At the time of the first synthetic dye’s invention,
wore the color to her daughter’s wedding. Though
science relied on trial-and-error. An 18-year-old
once an exclusive color for royalty, purple became
William Henry Perkin was experimenting with
a trend by the end of the decade with the option to
the synthesis of quinine to create an inexpensive
purchase a synthetic purple dye at a much cheaper
treatment for malaria. Upon cleaning his beakers
price. Many would flaunt the shade from head to
with alcohol, he found that his failed experiment
toe. Others, however, hesitated in using synthetic
turned into a deep purple solution. Perkin called
dyes because they believed it destroyed the art
this substance “mauveine.” He was in his third year
in dyeing. Professional dyers had carried out a
of studying chemistry at what is now a part of the
special cultural role since the earliest civilizations.
Imperial College London, but with his interests in
As synthetic dyes became more popular, many
painting and photography, he left to pursue further
craftspeople who had previously conservative views
research on dye colors. The number of synthetic
about synthetic dyes allowed the new dyeing style
dyes multiplied as a result of the work of Perkin
to expand their palettes.
and others who joined the effort. Access to colorful
Today, synthetic dyes rule the dyeing industry
clothing increased, making fashion more universal
and provide more than ten thousand color options
and vibrant.
in fashion. These synthetic colors make all the
This revolution in dyeing first spread across
difference in an outfit. We now have an extensive
the fashion capitals of Paris and London before
selection of colors to choose from to express
reaching America. In 1858, Queen Victoria attracted
our moods, the seasons, and how we want to
the public’s attention towards mauve when she
show up in the world. We mix and match colors
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MAVUE MANIA
with the joy of creating something new. While synthetic dyes provide such opportunities, they also contain harsh toxins that harm the dyer and
Greta Pauplys
the environment if improperly handled. These issues are highly prevalent in fast fashion. In recent years, researchers have begun developing ways to make the synthetic dyeing process more sustainable. Some consumers have returned to only using naturally dyed items to reduce the industry’s impact. Mauve changed the world in more ways than one, but its greatest impact can be felt in the number of options available to people who wear color.
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Photographer/Model/Stylist: Ashley Wilson Crescent Magazine
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Photographer: Sophia Iqbal Model: Mecca Tarrell
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As Can
Green
Be
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GREEN AS CAN BE By Jane Hynes
An abundance of green freckled branches of blooming
bitterly cold. Birds fly to warmer spaces, and we move
trees when all is new and warm. In the summer, we
inside near fireplaces. The abundance of green that once
are filled with wonder and awe as green surrounds our
freckled and beamed is now tired and worn; green sleeps
sights. Growing green grasses greet our feet, glistening
under blankets of white snow. Everything is dormant.
beneath the lingering sun. The bugs and birds bring
For a while, it may seem that the green will disappear
beauty and balance to the nature they help transform.
forever, that we will never escape the cold and grey. But
There is a certain serenity that green brings, the calm
the ice and snow will soon melt and leave in its wake the
that comes before unpredictable falls and harsh winters.
green that is ready to grow again. Spring will bring rain
Violets and roses and tulips of many colors stand out
that washes away snow. New seeds will take root and
against a backdrop of green. Life is blooming all around
become new again.
us.
Whether you find yourself renewed in the warmth of
In Autumn, shades of green start to wean, as trees cry
green, or stuck under mounds of snow, the leaves will
warm-colored leaves that fall beneath our feet. Branches
soon be brushed away, the snow will melt, the seeds will
that before had stood tall and green frown under the
once again be planted, and the green will always grow.
weight of the snow, as if they are mourning the loss of their green. Bright flowers slowly wither away, leaving few traces of green. The days become shorter and grow
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Photographer: Julieanne Dworkin Models: Raul Garcia, Brandy Johnson, Sophia Menchaca, Yael Navarro, Sahar Yusaf Stylist: Julieanne Dworkin, Jordan, & Raul Garcia
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Photographer: Bella Lekas Models: Sara Johnson, Sophia Menchaca, Yael Narravo Styling by: Bella Lekas
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Photographer: Jim Slife Model: Kaia Pierce
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Art Institute Monochromatic Piece: American Windows by Marc Chagall
AVA VAN HOFWEGEN
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The “American Windows” a work of art that some
Chagall’s mosaics titled “The Four Seasons” in
consider to be Marc Chagall’s most influential
1974 and finally “American Windows”. Both were
painting on stained glass windows ever. Now
highly praised and are still admired today by
they are shown in the renowned Art Institute of
many.
Chicago, ever since they were gifted by Chagall
With Chagall’s impressive use of color, mainly a
himself in honor of America’s bicentennial in 1976.
vibrant blue, it stands out in the museum. The
It is stated at the Institute that the inspiration
light through the windows allows the colors to
for these windows was Pablo Picasso’s sculpture
pop out even more. The majority of the painting
that is located at the Richard J. Daley Center.
uses a bright blue giving it a monochromatic look.
This sculpture was influential to the beginning
However, when giving the panels a closer look,
of modern art during the 20th century. To some,
you can see how many details are hidden within
these works of art were considered controversial
the color. The different pieces are supposed to
as they strayed from the past art that was popular
represent art forms across America. Having it be
at the time. This also eventually led to one of
so abstract allows the true meaning
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Photographer: Will Kleihege Models: Kaia Pierce & Rykley Braun
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Background Photo by Julissa Santana on Unsplash Crescent Magazine
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Photographer: Julieanne Dworkin Model: Sophia Menchaca Stylist: Jordan
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Photographer: Amber Moinuddin Models: Missy Hansen & Riley Peterson Makeup Artist: Loni Lustig
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Behind the C
My name is Zoom, I’m almost 21. I am a fashion stylist and just an artist overall, and I’m very excited for this cover shoot for Crescent Magazine.
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Cover Shoot Sarah -Can you explain the set?
Zoom - Yes. So this set, it revolves around the idea of this imagined reality, this dystopian reality, it’s the reality that I have that all of my artwork so far has been a part of and it’s called XENOVERSE. My piece that was featured on this cover shoot is the portal, and XENOSETTEE which is the sofa that you can see. So, the idea is that this is a very dystopian reality, very distorted, dark, evil, and we wanna keep this shoot monochromatic, that’s why the outfit is all white, but it also serves the idea that the model is like a light of hope that comes out of the portal. Basically this shoot is called reincarnation because it’s like a rebirth of something that’s so dark, a rebirth of something that’s hopeful, that’s lightful, out of something that’s so dark and twisted. So, it just like symbolizes hope, and like change. Crescent Magazine
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Sarah - Can you explain the styling for the shoot? Zoom - Yes. I was trying to go for like a very alien look in a way, so, all monochrome obviously, all white, and all in very like big pieces of like cuts and stuff like that. The top is um Dion Lee, which is a very modern and innovative brand that usually makes their clothes having cuts and like very modernized in a way.
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It’s a tight top, because people on shuttles in outer space probably wear tight all the time. The pants are tight, it’s from ERL. The shoes are from Raf Simons, which just give out this very space suit vibe, very futuristic. Themakeup, we really want to turn Oscar, the model, into this very alienesque creature, because obviously it comes from this very dystopian reality, and it’s outer space. It’s not from this world.
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We really want long hair because we want to show that the creature that Oscar represents, it’s almost like ancient you know, like having long hair it’s a process, first of all, and kind of symbolizes the fact that he’s very ancient, so that’s the idea of the outfit.
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Another thanks to the amazing team behind this shoot! Art Director/Stylist/Set Designer: Zoom Nguyen Hair Stylist: Audrey Quist Makeup Artist: Mady Brenn Model: Oscar J. Almonaci Photographer: Sophia Iqbal
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