shot by keefe tiu
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michela magnani
fall/winter 18
champions
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offset Editor in Chief Jessica Rivera
Creative Director
Art Director
Editor
Producer
Keefe Tiu
Amira Al-Hatlani
Stephy Tian Emily Jiang
Contributing Photographers Keefe Tiu, Porter Hamilton, Emma Craft, Madeleine Thomas Text Amira Al-Hatlani, Madeline DiLustro, Abigail Morgan Special Thanks to Georgina Qin, Andy Kam, Zixuan Huang, September Park, Anthony Miller
COVER MICHELA MAGNANI shot by KEEFE TIU in SAVANNAH
theoffsetmagazine.com
contributors
KEEFE TIU shot the emotionally involved Michela Magnani, who was thrilled to be on the cover after getting engaged to a YUMMY male model in Miami. EMMA CRAFT used her feminine touch on Kiersten Herr for our Beauty Innovations story. In “Dedication to Exposure,” CHARLOTTE WIESENTHAL touches on themes of feminism, insecurity, and vulnerability. MADELINE THOMAS and STEPHY TIAN teamed up over a gal’s night shooting Abi Morgan’s dildos, complete with Aperol Spritz and probably some kirakira+ shots of the dildo covered in silver glitter. PORTER HAMILTON shot Wes Daniels and Georgina Qin picking apples on Friday, then shot Royan Ebanks and Deedee Colter on Sunday, being foolish at some park. In “Woe of Women,” SHELBY CURRAN explores how one modifies love to placate a male dominated world. LILY SHAPIRO and KEEFE TIU hung out with Lilli Owens, Chris Giubilo, and Andy Kam for GANJA-411. Truly just an excuse to get high for school, kidding-ish. We love you Anthony. In “Vespers [Once I Believed in You…]” LOUISE GLUCK talks about change, desire, and the absence thereof. AMIRA HATLANI talked to MADELINE DILUSTRO about psychiatric care centers and elementary schools. Madeline’s instagram username is @MYSCAD, and we are here for it, absolutely. KEEFE TIU made everyone get up at 6AM to shoot YARDSALE. Noah Towne was a good sport about it, with the flies and all. Lastly, THE WHOLE TEAM took disposables and shot the shit out of them, to create our collage LIFESTYLE ON FILM. Thats hot.
family portraits
photography PORTER HAMILTON fashion KEEFE TIU
IT RUNS IN THE FAMILY DIOR
THE APPLE DOESNT FALL FAR FROM THE TREE
DIOR
TRULY LIVING ECKHAUS
LATTA
SOCCER MOM CELINE
“COOL
I’M A MOM
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FUCK YOUR CLEATS BALENCIAGA
TOO MUCH CLOUT ROSIE
ASSOULIN
by LOUISE GLUCK
yardsale
yardsale fashion and photography
keefe tiu
#CHLOEBOYS
AMAZING BALENCIAGA
ALL OF THE STARS SAINT
LAURENT
you cut me
OFF
WHOLESOME #TARGETSTYLE
photography KEEFE TIU muah KEEFE TIU EMILY JIANG
hot frustrations
work MADELINE DILUSTRO interview AMIRA AL-HATLANI
FORM FOLLOWS THUMB DIGITAL SELF AS ARCHITECTURE BY MADELINE DILUSTRO
Materiality refers to that which holds physical presence. However, digitized space created by the internet redefined materiality as matter generated by pixels. Digital culture hinders self-actualization through synthetic absorption of plasticized righteousness. This has led to poly-archetypal souls curated by altering personas specific to the media platform. Boundless experiences have become accessible with a thumb while at the same time binding civilization to a simulacrum of systems that counter connection to nationalism. Hypocrisy is the spice of life.
form followS thumb
Technologic globalization eradicates architecture’s primordial location as space in time, due to the decontextualized tangibility previously defined by the concrete environment. Society exists separated, yet cyber space encourages psychological transparency by deconstructing mediums of physical, existential, and virtual experiences. Reality no longer requires material specification, but rather defines the plasticized body and soul that dwells in both physical and digital space. Architectural and artistic mediums evolve in parallel with the development of electronic functions that deem humanity untethered. Material sobriety purifies the physical environment from over-indulgent consumerism seen through the reflections on the unadorned, glass facades attached to our palms. Notifications illuminate digitized consciousness, while equally disintegrating the physical environment and tactility. Technological space stems from a “home” conceptualized at the base of the glass facades. Media platforms and apps begin to construct spaces, tangible or not, which are presented as augmented architectures that exist beyond the real and perhaps within. Space’s virtual projection empowers the individual by establishing one’s thumb as the locus of control. Contextual extraction of the individual from physical place presents itself as the duality of psychological presence discoverable in both the physical and spiritual self. The thumb’s modus operandi liberates consciousness from spatial associations bound by the body and facilitates universal existence through an individual’s extension into a projected prototype. Spatial transience challenges the architectural discourse concerned with human experience traditionally obtained by the five senses. The de-contextualization of the notion of a “home” simulates sovereignty within the technological environment that hosts society and economy simultaneously and within a sphere through which society will perpetually question. The foundation of contemporary self-actualization starts with the interaction between a thumb and a “home,” and it is between the physical and architectural platforms which, aside from a specific vocation or medium, apply to all forms of creative production.
Madeline is pursuing her BFA in architecture with a double minor in architectural history and art history. She aims to elevate one’s consciousness within space by articulating tasteful designs executed in high-quality finishes. As the editor of CRIT, the national student architecture journal, she is able to continuously refine communicative graphics that directly influence readers, while also providing insight on the current architectural pedagogy. Currently, Madeline is designing a primary school that inspires tomorrow’s innovators, while simultaneously inviting the community in for a reciprocal learning effect
Amira: When did you decide to study architecture? Madeline: I was destined to become an architect after years of drawing minimalist dog houses for my childhood imaginary pet. Amira: For your project completed in November 2017, you designed an acute psychiatric care center for veterans. Tell us about what you want that space to accomplish and how it is designed for the patient. Madeline: Aesthetics implemented into the healthcare environment have proven to increase the speed of recovery by 30.8%. In keeping this statistic in mind, I curated every opportunity I had so that the patient is continuously exposed to aesthetics that reinforce themes of excellence and rigor. The interiors exhibit an appreciation for modern art, while remaining safe and functional for the patient. The geometries that compose the architectural parti mimic the functional organizations, for example the large cylindrical volume on the south façade houses all group therapy. Amira: Tell me about the primary school you’re working on now: Madeline: Haha, my primary school is in a very primary state. While in the concept and development stage, I have established that the architecture will take advantage of both greywater and rainwater runoff by filtering the water through the structure to make renewed potable water. As in the Acute Psychiatric
Care center, I intend to play with pure geometries to promote both comprehension of architectural volumes and mental clarity for the children. Amira: In your letter from the editor in CRIT, titled “Forms Follows Thumb,” you wrote about architecture and technology. Can you tell us more about this? Madeline: As an avid writer, this definitely was the hardest piece I have ever worked on. The entire time I felt like I was running in circles in my head. So many cigarette breaks… I don’t smoke. This all probably sounds very cliché, but the piece finally came together one afternoon. I was so happy it was over. Amira: How do you see these theories on architecture and technology reflected in your work? Madeline: The Whole Foodies, and the generations preceding ours keep pushing the need to disconnect. But really, the digital realm is unavoidable, and to avoid the digital is to be ignorant of all of the technological innovations that have given birth to today’s digital culture. So I do not feel that my ideas on architecture and technology will directly influence my work, but rather my life. Understanding the need to exist fluidly between the physical and digital realms will lead to a more honest lifestyle that is not convoluted by phoniness that is subsequent to societal fear and judgment.
beauty INNOVATIONS We live in an age of Insta-worthy beauty, where each product must be groundbreaking, followed by a selfie and hashtag. Now, beauty innovations are stylish, and Instagram is rampant with swatches and tutorials. In the last two years, we’ve seen an increased interest in skincare, whereas previously, only makeup was truly visually exciting enough to be shared on social media. More and more customers are looking for products that will improve their skin and look fucking cool while doing it. GlamGlow, the Los Angeles based skincare company, is the leader of this cool skincare moment. They are known for their signature clay masks, which deep clean the skin and refine skin texture. Since their takeoff in Sephora a few years ago, GlamGlow hasn’t been shy when it comes to releasing new products, launching innovative, limited edition formulas in skincare. Their masks range from wash-off, peel-off, to sheet masks, and they even have one that you remove with a magnet. GlamGlow is knowing for creating iridescent, colorful masks. Their signature GRAVITYMUD mask lifts and tightens the skin using hyaluronic acid, glacial clay, and marine algae plasma. It goes on iridescent silver and can be peeled off. GlamGlow has a new version of their well-loved peel-off mask, filled with glitter for an iridescent, holographic finish. On the sheet mask side, GlamGlow has their Bubblesheet, a sheet mask that foams up on the skin, creating a foamy layer that you massage and rinse off. This foaming mask oxygenates and deep cleans the skin. Another popular Sephora brand, Dr. Brandt, created a mask that is removed entirely by using an included magnet.
photography EMMA CRAFT muah EMILY JIANG JESSICA RIVIERA STEPHY TIAN writing AMIRA AL-HATLANI
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The product, MAGNETIGHT Age-Defier, is infused with iron magnetic particles that draw out impurities trapped on the skin, and the magnet pulls the product off the skin. In 2017, we saw the launch of Rihanna’s Fenty Beauty line at Sephora, a stunning range of foundations for all skintones, glittering highlighters, and multi-use shimmer sticks. The Kilawatt Freestyle Highlighters are a line of weightless cream-to-powder highlighter duos, loaded with super fine shimmer to give the ultimate glow. Fenty also has Match Stix Shimmer Skinsticks, creamy makeup sticks that can be used to highlight, blush, or add a touch of bronze. Both products can be used on cheekbones, on the bridge of the nose, on your collarbones, or even on legs for a bronze effect. However you use them, Fenty’s products are sure to deliver radiance to the skin for that extra glowy look. Rihanna was also commended for creating over 40 shades for her Fenty foundation. She decided to make colors for those overlooked skintones that are very pale or very dark. She wanted to include the full spectrum, whereas other makeup companies were only including the middle of the spectrum.
Huda Beauty is another beauty brand that has thrived in the age of the internet. The founder, Huda Kattan, founded her cosmetics line in 2013, which started with a range of false eyelashes at Sephora. The eyelashes were famously worn by Kim Kardashian and were Sephora’s bestselling false eyelashes. Now the brand offers gorgeous eyeshadows, lipsticks, and highlighters. Huda herself has over 20 million Instagram followers, and has been described as the Kim Kardashian of the beauty influencer economy. She was chosen as one of the 25 most influential people on the internet by Time Magazine in 2017. The beauty company is based out of Dubai. Huda Beauty recently launched a highlighter palette for darker skintones, adding to her collection of high-intensity highlighter palettes. She is also known for her stunning eyeshadow palettes. The eyeshadows are highly pigmented and apply smoothly with little fallout, for easy application and seamless blending. The Desert Dusk eyeshadow palette features 18 eyeshadows with a warm, pink color palette. The shades range from smooth mattes to duo-chrome shimmers. From subtle, natural looks to bold statement looks, Huda Beauty’s eyeshadow palettes have you covered. The brand is definitely at the forefront of the makeup influencer scene, and her customers are constantly waiting for new products, tutorials, and posts. She is a prime example of cashing in on beauty in the social media age, delivering the beauty trends customers want, marketing via the social media platform they love. From magnetic masks to glowing highlighters and eyeshadow palettes, the last year has given way to countless beauty innovations that have changed the beauty market. Good results aren’t enough anymore- the product has to look beautiful while doing it, peel-off foaming bubble sheet mask included.
photography LILY SHAPIRO direction KEEFE TIU writing AMIRA AL-HATLANI
ganja ganja ganja ganja ganja Ganja, the devil’s lettuce, broccoli, bud‌. Whatever weird name you have for it, cannabis is currently a growing industry in the states, and the national dialogue on it is more open and accepted than ever. Support for the legalization of marijuana has reached a new high in the United States. A recent Gallup poll shows that a record 64 percent of Americans now support decriminalizing the drug. Whether for medical or recreational use, marijuana has multiple uses and benefits. Medicinally, it can help reduce symptoms of anxiety, stress, nausea, and pain. Recreationally, it can help the creative thinking processes and increase creative thinking. Marijuana has been shown to produce symptoms that can help an individual connect seemingly unrelated concepts, an aspect of divergent thinking considered primary to creative thinking. Additionally, the legalization of marijuana has multiple benefits for the economy and society. Currently, marijuana has been completely legalized in nine states and Washington, D.C. It has been medically legalized and decriminalized in 29 states. In 2012, Colorado and Washington were the first states to legalize the use and sale of marijuana. In 2016, legal marijuana created over 18,000 fulltime jobs and added about $2.4 billion to the local economy of Colorado alone. Every dollar spent in the industry, across the country, generates between $2.13 and $2.40 in economic activity. Marijuana has the potential to contribute billions of dollars to the national economy, as every state that has legalized it has seen increased economic stability. Marijuana is even being used to help recovering
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drug addicts, and could aid people who suffer from the country’s current opioid epidemic. In 2016, the CDC announced that 64,000 people died in 2016 due to overdoses of heroin and other opiates. Most recovery options available to addicts preach abstinence, including marijuana. Unfortunately, these rehab centers have only about a 30 percent success rate. Conversely, there is a growing body of evidence showing that opioid use is down in states where marijuana is legal. When people have legal access to a natural, harmless drug, they are less likely to use hard drugs that are highly addictive and even deadly. Rehab facilities in California are promoting the use of marijuana for recovering addicts to ease pain, stress, and addiction. The potential end of the prohibition on marijuana in the United States is better than ever before, with more and more states seeing the benefit of fully legalizing the plant. Serious topics aside, marijuana use can simply be a recreational way to increase creativity and decrease stress. Our current generation is more open than any prior on the use of recreational marijuana. We spoke to four students to hear their opinion on the subject: two who use it to inspire their creative work, and two who use it recreationally.
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photography MADELEINE THOMAS direction STEPHY TIAN interview ABIGAIL MORGAN
SIZE queen
Who am I and why the hell am I making dildos
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My name is Abigail (Abi) Morgan. I’m a 21 year old industrial design (BFA) student at Savannah College of Art and Design from Medway, MA. My design language generally draws on organic forms: both rhythm and asymmetry are major players in anything I sit down and sketch. I mostly design home goods: a shelf here, a composter there, some door knobs, a dildo. So why did I design a dildo? Fall 2017 at SCAD, I was taking Commercial Practices of Industrial Design with Professor Hopson. This is the second major studio design course ID majors take at SCAD, and it’s pretty much the first time you sit down and make a real product. Now the assignment was to design a toy, but if I was the type of person to play it safe, then I probably wouldn’t be wearing a yellow butterfly blazer at the moment. Early in the quarter during our ideation phase, I was banging my head against the wall thinking that I’d have to work for Hasbro making dollhouses for the rest of my design career. Then it came to me like a hell of a calling- sex toys are very much so toys. Many people already know this about me, but I love talking to people about sexuality. I think human sexuality is an important feature of everyone’s life, whether you’re single, married, asexual, religious, disabled, afraid, or anything else. Whether you embrace sexuality or not, it’s something that will affect you at SOME point in your life, and for some- everyday. It’s about making yourself and other people happy- and if you can’t get behind that, have fun being sad!
The project started with talking. I spent weeks sketching ideas, walking around my building, Gulfstream, talking to fellow students and peers about their sexuality: their preferences, their opinions on my designs, and their experiences with toys. I also became aware of the stigma of it early on: though my professor thought the topic was unique and interesting, other’s referred to work “of that kind” as the kind of thing to keep out of your portfolio. Some wouldn’t even touch my prototypes, which made me want to keep creating them all the more. Though I explored a myriad of sex toys and spent hours sketching cock rings, vibrators, whips, etc, the dildo seemed like an appropriate choice for my first sex toy design. The final developed forms allowed for a poseable dildo that could more easily reach a woman’s g-spot and therefore stimulate an orgasm- or not, depending on how you prefer to use it! I also liked the idea of creating a sex toy that could be used by anyone: everyone’s got somewhere to put it. As a designer, I think my role is to help people through my designs. I’m not saying designing or making sex toys is a noble act, and I don’t know if I’ll continue to design sex toys after SCAD, but if I can destigmatize human sexuality little by little, I’m good with that.
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