ODYSSEY: Fashion Society UCF Magazine Issue II by Fashion Society UCF

FASHION SOCIETY UCF PRESENTS

ISSUE II

ODYSSEY: Fashion Society UCF Magazine Issue II Underlying text, images, and works are contained within works. Names, characters, places, and incidents are used fictitiously. Author(s) and Contributor(s) media includes photography, artwork, and text, contributors own rights to their work. Copyright © 2021 Fashion Society UCF. All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical means, without permission in writing from the publisher, except for the use of brief quotations in a book review or other non-commercial methods within copyright law. Front Cover design by Eri J. Orengo, Caitlyn Lombardo, Jackson Ring, & Bianca Dimov. Back Cover design by Jami Doolittle, Bianca Dimov, & Raquel Gonzales. Publication designed by Kayleigh Powers, Madison Walker, Bianca Dimov, Caitlyn Distasio, & Vane Salas in Adobe InDesign. Printed by Printing Center USA, in the United States of America. First digital & paperback edition April 2021. Publisher: Fashion Society UCF. Contact: fashionsocietyucf@gmail.com

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Fashion Society UCF is an all inclusive club that is determined to create a safe space for any and all student creatives interested in the fashion industry. Our focus is on creating a judgement free zone and in making a positive difference within the industry, giving students of all majors the opportunity to dive into a successful career in fashion. Members are given a creative space to work on their craft through our specialized 5 main committees: Design, Styling, Modeling, Beauty and Photography.

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DIRECTORS’ LETTER As we transcend from imagined utopias and return to “normal life”, the creators of this magazine have realized that everything is still far from normal. In fact, the idea of normal is forever changed as our society continues to advance and transform with every passing day. Last year, we were forced into a mission of navigating “unprecedented times”. Instead, we decided to escape. After hiding inside daydreams for a year, we disposed of our rose-colored glasses as we entered 2021. Pushing forward and looking inward, a new hope and beaming light ignited something in all of us: growth. Issue I: Escapism was an outlet which allowed us to “break free from any troubles”. However, embarking on this new journey, full of self-reflection and consciousness, Issue II created space for development. Have you noticed that great change—like the Renaissance, the Industrial Revolution, the Roaring ‘20s— all mark the end of a disastrous abyss? These blackholes seem destructive while we’re in it; however, the human race has an interesting way of raising ourselves up. The beginning of this new decade is no different because as we know, humans are creatures of habit. Yet, we still find ways to evolve and excite. Art has shown us that inspiration grows from the creations of yesterday. But what boosts originality is improvement. Innovation. This is our trek. Issue II: Odyssey is inspired by the all-encompassing age of technology which influences our everyday lives. Even this magazine was produced and distributed digitally. Written pieces emphasize change and acceptance; camp photoshoots oppose satisfaction and seek to challenge through satirical storytelling. The talent of our members does not go unnoticed. We’ve gained so much knowledge and skill from our first issue, and continued to progress throughout these last four months. To everyone who helped produce and support the continuation of Fashion Society UCF’s editorial magazine, thank you. Logging off, Eri O., Kayleigh P., Madison W. Bianca D., Cynara F., Caitlyn L., & Raquel G.

8 USER INTERFACE In a room full of technology, can humans make a difference?

18 INCUBATOR

An experiment in growth.

26 TECHNO

Fusing the old with the new.

CONT 12 ENTRY INTO 2061

An artificially intelligent robot is determined to make every day count in the innovative and advanced world of 2061.

Honoring the innovative style of cyberpunk through the work of influential designers.

32 CHANGING THE STANDARD

After an uproar of demand for diversity inclusion, the fashion industry is beginning to change.

14 THROUGH THE EYES 24 SAMANTHA RAE OF ROBERT WUN PETERSEN: BREAKING Fashion designer, Robert THE GLASS CEILING

34 FS X PANDORA:

Wun, is transforming the confines of gender and expressionism through his depiction of femininity & futurism.

Fashion Society’s design chair provides commentary about feminism through her original design.

16 FEATURED FS DESIGNERS

31 MAKING THE MOST OF IT

43 METAMORPHOSIS

A sneak peek at two UCF student fashion designers’ latest projects.

23 THE ENGINEERING OF CYBERFASHION

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Celebrating fashion’s evolution and cultural differences.

PLAYHOUSE A spin on the commercial world, “Playhouse” depicts people’s doll-like movements and behaviors: a collaboration with Pandora® Jewelry.

A brief observation of how the definition of woman has changed through the lens of trends and fashion, and how those definitions influence assumptions about women.

42 DEEP SPACE HABITATION

A space journey into the future of fashion.

50 SINGULARITY

At the intersection of Humanity and Technology.

58 DATAMINE

There are eyes all around us.

ENTS

48 IRIS VAN HERPEN

Haute couture meets technology and sustainable practices in the hands of inspiring Dutch fashion designer Iris van Herpen.

56 AI OR U

70 LA LUNA ZULMARIS

66 OVERHEATING THE ENGINE

72 INTERSECTIONS

68 LOST IN TRANSLATION

74 ODYSSEY PLAYLIST

As a generation that grew She carries the universe up with the internet at our inside of her. fingertips, our technology updated automatically while we consumed unconsciously.

If I move too fast I’ll burn out.

Inventive fashion gets twisted through the mainstream media, but artists can find their footing within that notion.

A free verse poem about overthinking and selfreflection.

Three hours of runwayinspired music selected by our staff. Scan the QR code to strut the catwalk wherever you go.

Director: Zulmaris Garcia Model: Mackenzie Logan Photographers: Daniel Cajiao, Collin Fells & Laura Herrera Photo Editor: Collin Fells Stylists: Juliette Francis & Jessica Giberson MUA: Emily Haws Set Dresser: Tyre Hill

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LINDSAY MALLEY May 12, 2061 Dear Humans, Today, I’ve finally been assigned to attend an online university in Florida. I’ve been programmed to make inexpensive, durable, and unique clothing from home since self-made design is the new human trend. After the 2020 Global Pandemic, the world became one big homebody. Most of the Earth’s resources are diminishing. The air quality is deemed unsafe which is why humans have brought copies of nature into homes. I plug out of my bed every morning to the simmering heat of the sun radiating from the hexagon-shaped ceiling and walls. I receive a swirl of fresh air from the climbing vines and vibrant flowers that cling onto the walls and columns throughout the house. In a world full of artificial intelligence, I get to sit in a room full of life. During the week, I sit under the soap bubble ceiling and practice my programming on a 3D printer. Every Saturday, I examine and improve my online socials for the weekly community competitions. Whoever receives the most likes is gifted a free car or house renovation. Companies even look at your profiles to check personal branding and creative content to determine the perfect winner. My most recent posts have been of my 3D printed fashion pieces. These pieces include a silver puffy coat with a metallic armor top and a white lattice exoskeleton skirt that resembles octopus arms. Fashion design was the perfect niche for me. I absorb information like a sponge. I do not appreciate a wardrobe made with ill quality materials; hand-made pieces are a necessity. While previous generations of humans were forced to follow fixed paths, this day and age thrives on creative innovation. Luckily, my 3D printer is affordable and sold on most online sites. With my 3D printer, I get to create custom clothing that shows off my unique personality. One of my favorite things about our fashion companies is how tailored it is to the individual. For example, gender is a concept of the past; people’s attitudes and personalities are shown through their attire. Additionally, there are no clothing sizes. To eliminate leftover clothing and save on materials, companies have started scanning your body for measurements. Not only does this help the environment, but you are buying clothes that are perfectly tailored to your body. Another interesting design is datagathering garments. Companies have started using smart materials to learn more about each user. Shoes can track your steps and recognize when you might injure yourself. Attire also gathers data to prevent sweating and odor. The downside to data-gathering garments is how much information the government has and collects from humans...but that’s a topic for another day. On a brighter note, one of the most useful advancements in fashion technology is the chameleon and VR designs. Chameleon wear allows your clothes to adapt to an environment, and VR technology allows people with VR glasses to see different colors and patterns than what is actually being worn. For the people that don’t like wearing the same outfit twice, this one’s for you. ;) Why do I care so much about the human world? Well, I wonder that too. At the end of the night, before I plug myself back into a wall full of positively-charged lithium ions, I reflect on human curiosity. Humans have a constant fight to preserve and build. While I don’t fully understand human nature, it’s incredible to see that humans care enough to desire and create a better world. And in the end, they created me. Anyway, my batteries are running low.

- Ricci the Robot

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KENZIE FOX

In the last few decades, science fiction and creative depictions of the future have built massive waves of curiosity and experimentalism. We’ve seen incredible amounts of technological advancements and media that reflect our society’s attraction and concern for these developments. Many artists use their craft to comment on relative issues, events, and ideas of what our future may look like. Robert Wun, a Hong Kong born fashion designer now based in London, is driven to play with conceptual and futuristic ideas of femininity through distinct shapes and sculpture-like silhouettes. In an interview with Metal Magazine, Wun states that one of the main inspirations for his style is the connection between nature and man. While insects, flowers, and other forms of the environment are perceived as a sort of proportional beauty, it is the subtle imbalances that catches Robert Wun’s attention.

“I just believe nothing can be more original and timeless than when it’s inspired by something so raw and so genuine as nature.” Many find it difficult to put Robert Wun’s style into words because of its profound intensity and organic uniqueness. The shapes of his designs—which often are compared to orchids—and use of materials bring his world of modern naturalism to life. But this fascination and passion for the natural world is not anything new to Wun.

During his youth, Robert Wun liked to craft small objects and habitats for his exotic pets. From pythons to chameleons, Wun always had a knack at creating ideas that closely adapted his visions with environmental obstacles. “I truly enjoy the process of building something as close to nature as possible,” Wun says to The Love Magazine. When creating a particular idea, Wun uses artificial fabrics like organza and lycra to create designs that symbolize nature and man. His craft also involves techniques like burning and melting, where the outcome is uncontrollable. Many find it difficult to put Wun and his creative process into a particular category, since his ideas are so unique and focus on a new, powerful form of femininity.

AW20 Collection Sourced from robertwun.com

His work is often compared to the renowned designer Alexander McQueen, but while McQueen is more fluid with floral patterns, Wun’s stoic structure is often paired with monochromatic styling. Both of these designers have related ideas, but the way their designs portray similar concepts and their differences in creativity drastically separate their style.

“I also believe one of the greatest things about fashion is the ability to transform oneself through clothing – to help you escape from what you don’t wish the world to see, and highlight what you want the world to notice now and in the future.”

Robert Wun uses his craft to explore his creative spirit and also tackle challenges like beauty, identity and sexual standards in society. Wun discusses in an article by Tatler Hong Kong that many in the industry have told him to make more designs inspired by his “heritage.” And while Wun likes the idea of paying homage to his culture, there is a stigma that people of color in fashion are only recognized for ancestry and background.

“I appreciate people paying homage to certain heritages to create a collection, but I wish to offer something more personal and futuristic.” Instead, Wun wants to embrace creations that envision more personal and futuristic takes on femininity and expression. “Futurism means optimism, the only way is moving forward.” It’s undeniable that his ideas are paving ways to a new era of fashion. His desire for inclusivity and innovation within the fashion community has led to celebrity icons like Cardi B, Lady Gaga and Solange Knowles taking interest in his work. There is something so incredibly pure and integral in the way that Wun designs his pieces. Through every stitch and curve of the cloth, his clothing transfers feelings of strength and connectedness. As if rooted directly in the ground, his clothing blooms into articulate depictions of a world based in experiments, science, and crafted beauty.

SS21 Collection Sourced from robertwun.com

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Director: Brianna Brebnor Asst. Director: Eri J. Orengo Models: Tyre Hill & Mauri Rocke Photographers: Sebastian Espinoza & Carlos Napoleoni Photo Editor: Carlos Napoleoni Stylists: Gabrielle Arcia & Ian Elmowitz MUA: Jessica Schwend Set Dresser: Nathalia Beltran

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Graphic Designer: Madelyn O’Halloran

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NATHAL

IA BELT RAN

The internet has become such a personal thing for our generation. It is a dominant factor on how we navigate our lives. Our connection to the world wide web is indisputable. It has influenced how we view the world. This includes how we associate technology and fashion, specifically through the subculture of Cyberpunk. The ‘90s introduced a fashion aesthetic labeled Cyberpunk, a subgenre of science fiction. It can be related to both punk rebelliousness and a futuristic utopian world. Cyberpunk is categorized as science fiction “dealing with future urban societies dominated by computer technology.” This was an influence for many fashion trends in the ‘90s by nonconformist designers like Jean Paul Gaultier, Vivienne Westwood, Thierry Mugler, Rei Kawakubo, and Yohji Yamamoto. French designer Jean Paul Gaultier used the digital revolution and the ‘90s internet era as his muses for his 1995 fall “Cyber Show,” which was one of the first fashion shows to integrate computer-generated fabric designs. Gaultier utilized many tech pieces for his runway show, such as embroidered computer chips and handheld hair dryers, to inflate some of the clothing items. This show was revolutionary as it used elements in fashion that were unfamiliar to the general public, integrating Club Culture, Cyberpunk, and BDSM. It was a celebration of subcultures that were displayed in a futuristic way. Thierry Mugler, a Parisian designer, has been deemed “the prophet of futurism” because of

his imaginative designs and forward thinking. His vision includes experimenting with abstract concepts like dystopian fashion through the power of glamour. Similar to Gaultier, Mugler had a fall fashion show in 1995 which consisted of sci-fi elements and robotinspired pieces. Arguably one of the most iconic pieces from that show was a garment constructed to look like a cyborg with metal breastplates and latex. He was influenced to combine the 1940’s Hollywood stars’ timeless look with 1980s strong business women, culminating in innovative looks. Vivienne Westwood and her partner at the time, Malcom Mclaren, worked with the british punk rock band “Sex Pistols”. They created garments embellished with safety pins, chains, zips, and more. She would later be referred to as the “Queen of Punk” and earn a spot in the fashion world. Westwood was inspired by the film Blade Runner by Ridley Scott and created her 1983 collection with the theme “Punkature.” Curated with dystopian-like pieces, the garments had a mixture of both postapocalyptic and punk themes as they were made to look distressed with recycled pieces. Battered and unique pieces contain untold stories as it strives to evoke a realness in society. The influence for this show was homage to what punk is: a rebellion against the norm. Each designer’s collection explains the age of Cyberpunk in their own creative ways. They create intricate worlds through their garments, utilizing the future to resist the norm. This aesthetic will be a constant theme as technology is forever expanding.

B B R R E E A A K K II N N G G T T H H E E G G L L A A S S S S C C I e E i L L II N N g G 24

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SAMANTHA RAE PETERSEN

Inspired by Paco Rabanne, this metallic acrylic garment is joined together with jump rings forming a houndstooth pattern. This dress captures the pain and discomfort of breaking the glass ceiling within the workforce as a woman. The reflective surface symbolizes a sense of invisibility; the inflexible material represents the hard exterior of businesswomen. Despite all of this, the wearer’s strength and empowerment have transitioned the glass ceiling into a visual reminder of woman, transcendent.

Designer & Model: Samantha Petersen Photographer: Isa Jones Photo Editor: Kayleigh Powers

Director: Brianna Brebnor Asst. Director: Eri J. Orengo Models: Lauren Ifill, Vane Salas & Miguel Vargas Photographers: Isa Jones & Carlos Napoleoni Photo Editor: Carlos Napoleoni Stylists: Gabrielle Arcia & Ian Elmowitz MUAs: Eri J. Orengo & Jessica Schwend Set Dresser: Nathalia Beltran

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Graphic Designer: Madelyn O’Halloran

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REINA NIEVES New York, Milan, Paris, Miami, Hong Kong, and even London Fashion Week are all major events glorified in the fashion and modeling industries. For models, being chosen to walk in shows of select designers such as Versace, Michael Kors, Moschino, and many others is one of the most rewarding achievements that can be offered. It’s the perspective of those who are influenced by such fashion events that view a different story. When thinking of runway modeling in any fashion week, who or what comes to mind? Maybe Kendall Jenner, Joan Smalls, Gigi or Bella Hadid. Maybe it’s the idea of stick-thin, clear-skinned, 5’9”, fit stereotype that accompanies these familiar faces. Companies and agencies are massproducing these ideals and making the standard for models so high that it is unobtainable for their demographic to reach. The models themselves suffer from many issues as a result of this. After going to extreme lengths such as sticking to strict diets and starving themselves, many models still find it impossible to try and fit the industry’s disgusting standards. Using the same mold for models is what makes this a toxic industry. Yes. Toxic. Modeling has changed with each generation. Trends over time have directly impacted what’s considered beautiful. From the Gibson Girls in the early 1900s, flappers, and icons of the 1950s, we’ve seen standards evolve into the “renaissance” of modeling in the 1980s and 1990s — where Linda Evangelistas, Naomi Campbells, Tyra Bankses, and Cindy Crawfords flourished. The stigma of the 5’9” supermodel went into place and has stuck until now. The claim is that the clothes “fit” and “look” better on taller girls. Although the average female height in the United States is currently 5’4” and the average male height is 5’9”, the fashion industry creates an expectation of beauty that comes with being stick-thin, above average height, clear skinned, and toned. It’s disappointing to see the toll these standards take on people in society. The portrayal of beauty on these runway shows and through the media can cause problems, beginning in childhood, like depression and self-image issues. We see these effects in our everyday lives with the rise of social media and influencing platforms, which this toxic industry thrives on. According to an article by Vox, the Victoria’s Secret Fashion Show, arguably one of the most iconic and memorable celebrations in the fashion industry, was cancelled in 2019 so they could “evolve the marketing” of their signature lingerie brand. It only had around 3 million viewers in its final year, compared to record numbers of 6 million and 9 million viewers. Beauty

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is in the eye of the beholder, and to some — who don’t look like runway models — watching “perfect” women isn’t entertaining anymore. Imperfections are often hidden from the spotlight but recently, brands (e.g. Target, Aerie), and modeling agencies (e.g. STATE, IMG) are starting to break these molds. STATE Management, based in New York and Los Angeles, has expanded to include Petite and Plus divisions. Most recently, IMG’s Senior Vice President David Cunningham stated that the agency will no longer require model’s measurements when applying on their website. He also stated, “Clothes should fit people, not the other way around. Period.” This was followed by a major positive commotion in the Petite and Plus communities. Models from all walks of life rejoiced in this monumental change. Andrea Ventura is a 5’3”, Salvadoran model signed by various agencies in the Northeastern United States. As of today, she has 16k followers on Instagram and 247k followers on Tik Tok (amassing 17.2 million likes overall). Her dream is to spread inclusivity for petite models worldwide. Her profile consists of tips, hacks, and motivational messages for those struggling in the industry. She is a force to be reckoned with and a strong contender for the future of fashion. Her message portrays, “If I can do it, you can too.” Another model breaking the mold is Ashley Graham, famously known as the queen of the body positivity movement. Seen on campaigns for Vogue, Sports Illustrated, and Revlon, she is most notable for her “real” persona. The new mom showcases her “imperfections’’ on social media, amassing her a grand total of 12.1 million followers on Instagram. For many women, she represents a real person with flaws and hardships. Her message of “Beauty Beyond Size,” is another reason for her widespread following. With this change comes many new expressions of the self, both with gender identity and representation on the runway. Aaron Phillip, 19, became the first black, transgender and person with a disability to be represented by a major modeling agency. Since then, she has been seen in major fashion shoots, houses, and campaigns, opening the floodgates for others like her. “The fashion industry has only known one type of body, and one type of marketable figure for so long,” she says in an interview with CNN. She pushes for all types of bodies to be celebrated and seen as desired and marketable. The future of fashion looks bright for all models. With agencies changing their standards and views on beauty, we are no longer looking for the manufactured barbie dolls that used to fuel the runways and magazines of the world. We can only hope that the future looks bright for all genders, sizes, and abilities.

Director: Eri J. Orengo Asst. Director: Kayleigh Powers Art Director: Brianna Brebnor Models: Brianna Brebnor, Julianna Diaz, Ian Elmowitz, Autumn Farwig, & Danilo Gonzalez-Castano Photographer: Kayleigh Powers Photo Asst.: Caitlyn Lombardo Photo Editor: Kayleigh Powers Graphic Designers: Madelyn O’Halloran & Darrell Wright Jr. Stylists: Brianna Brebnor, Juliette Francis & Ian Elmowitz MUA: Emily Haws MUA Asst.: Bridgette Sarich Set Dressers: Nathalia Beltran & Isa Jones

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Pandora at Mall at Millenia 4200 Conroy Rd 407-370-3377 Pandora at Florida Mall 8001 S Orange Blossom Trl 407-888-5757

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Director: Zulmaris Garcia Models: Kristina Bartha, Samantha Cruz, & Dominic Durso Photographers: Rebecca Aranalde & Caitlyn Lombardo Photo Editor: Collin Fells Stylists: Brianna Brebnor, Juliette Francis, & Jessica Giberson MUA: Caroline Smith MUA Asst.: Bridgette Sarich Set Designer: Tyre Hill

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METAMORPHOSIS CYNARA FREEMAN

Through generations, the mold of what defines a woman is constantly shifting, and it can be argued that both men and women are equally responsible for creating these expectations. The ideals that a woman must live up to run so deep that many are undetectable. Some fit like an old pair of jeans—the familiarity is comfortable, until you stuff yourself with so much food that relief can only be found by unbuttoning your pants. The inequality is a second skin you wear when most convenient, easily slipping on and off as a reaction to your current situation. It becomes difficult to tell them apart—the skin you were born with, and the one that they told you would fit. This skin is typically embodied with the purpose of being a tool or weapon. Fluttering eyelashes allow one to seem innocent enough that they should get their way. Tears accompanied by a pout are a sign that one is in despair and in need of assistance. Her heels click, “Notice me.” These things, purposeful or not, are part of her universal language—a language of survival. These mannerisms are born out of expectations, and each expectation is the daughter of another. Hardworking and supportive Rosie from the 40s brought America to the supportive, hardworking 50s housewife. Her role became too restrictive and decided education and free love were more important, morphing into the 70s disco queen whose glamour and consumerism exploded into the material girl of the 80s. “They are spending too much!” Let’s strip it back and make them 90s chic. Oh no. It has become too clever. Give it Clueless and bring about bubblegum bitch 2000. Many of us have gotten to witness this continuation in the last decade. Femininity squeezed into athleisure and adorned her head with messy buns, changing her beat to fit every occasion. Her diet consisted of only meat, vegetables, or nothing at all to obtain a thin waist. Bags were acquired to get an education, go on vacation, or fill lip injections that had expired. And if she didn’t have the money, then squats and chicken breast became her best friend. Every trend was adopted and executed without question nor hesitation. She did everything we told her to do. Trends continue to emerge each year. Most people not only follow them, but they use them to decide who they are. Her heels and contoured cheekbones tell you she is a baddie. Her glasses and sweater means she reads. The quirky ones wear oversized T-shirts and boyfriend jeans. I see your art reflected in your nose ring. One of the biggest perpetrators of these expectations is fashion. Gucci taught that sexy and fun go hand-in-hand. Chanel demonstrated the highest form of sophistication. Prada proclaimed that aloof equaled cool. Fashion has and will continue to be the forefront of how Woman is defined.

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Director: Darrell Wright Jr. Models: Bianca Dimov, Kiara McLead, & Jennifer Sequeira Photographers: Collin Fells & Jackson Ring Photo Editors: Jackson Ring Graphic Designer: Raquel Gonzales Stylists: Brianna Brebnor, Cynara Freeman, & Eren Jones MUA: Emily Haws Set Dresser: Sarah Sullivan

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SARAH SULLIVAN As a kid, my siblings and I relished the weekends where we could play outside all day, without homework or dinner beckoning us in as soon as we started to have fun. I have a memory, maybe kindergarten, of riding my bike. The sun was almost done setting, and my siblings had repeatedly said mom wanted us to come in. I closed my eyes and told myself if I can’t see them, I can’t hear them. Eventually, the mosquitos came out, and that was enough for me. That was a time when I was uninterested in electronics, and as I got older, I looked forward to the weekly manhunt games in my neighborhood. We were always the house with the neighborhood kids in our driveway or the garage, asking for one of the four children to play. Or maybe they just wanted us for our cool toys. No one is knocking on my door now, asking me to come out. If anything, we are being asked to stay in. I didn’t get an iPhone until almost the end of middle school. I think my friends were more relieved than I was because I would finally stop asking them to use theirs for games and social media. I coveted a smartphone, down to my core. I saw it as this Pandora’s box, once I had one, my problems would be made smaller if not solved. The marketing for smartphones may have been originally targeted at business professionals but have now smuggled their way into the minds of almost every living human. It didn’t stop with a smartphone. I then wanted, no, needed a laptop. Not for homework at first because we already had a home computer and the school gave us laptops. One summer my high school brother handed his off to me, and I eventually got invested in YouTube. In eighth grade, I met my best friend when I asked if she knew who Zoella was. I wanted to be a YouTuber for years. I still wouldn’t mind the idea of creating content for

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a living and getting to travel. However, the field still feels over-saturated even with the recent consolidation of mediocre Youtubers who were once praised for their extravagant lives, which became less extravagant throughout lockdown. My electronics obsession started before I knew it. It infiltrated my life in every way and still does. I can’t imagine my life without modern technology, using my phone and laptop to check the weather, get directions, communicate with family and friends. Technology has even offered society extreme advances in medicine, everyday life, and now fashion. There are new intersectionalities between tech and film and fashion and art. All the mediums bleed together. Those who lived to see 2021 probably wouldn’t have survived without technology, social media, and the internet. Despite record amounts of people taking a break from social media last year. I have seen users take multiple “social media fasts” from Instagram for its toxicity and unrealistic expectations but will then re-download the app and meet back at the same watering hole. Consumerism has become a competition of who can have the largest amount of

materialistic trends. If the same information is broadcasted to every user, then we will no longer be given the opportunity for individuality. I’m not sure we can stop the fact that we are being exposed to the same type of content, other than actively branching out and seeking outside sources or perspectives. It is insane to think when Instagram originally announced they would adjust the ‘likes’ display for the mental health of society, it threatened an entire profession. Influencers almost had a monumental growth factor taken away, while Instagrammers like Chloe Davison, had literally taken their lives because they equated their worth with their views. This is where the downside of tech comes in. It has become an all-consuming matter that we no longer have control over because it is controlling us. And as someone who tries to roll with the punches and fears commitment, I never sat down with myself and thought I should put up healthy boundaries with something on my phone. We are no longer autonomous with our thoughts and feelings. AI was created to function at a higher intelligence level than its human creators. Seems smart initially, but when you can’t control what you create, it becomes dangerous. Fortunately, I haven’t heard any real-life Ex-Machina stories, but that doesn’t mean they won’t happen in the future. The average person glances at the fine print momentarily before clicking “allow access” when we download a new app. After some light research on harmful downloads, I have since turned off my microphone and camera features for Instagram. With my inconsistent posting, I can get away with easily posting from my camera roll. Most apps ask for access to our contacts, camera roll, and microphone. For a generation who screams for autonomy, we have become

so accustomed to sharing our personal information online. If we have pictures on our phones we wouldn’t share with our friends, deemed ugly or otherwise, why would we share them with an international database? Popular gaming and messaging apps have been blacklisted for accessing and sharing unencrypted data as well as tracking locations of users without permission. Instagram is notorious for its algorithm. You can like one post about cat memes and your explore page will be all cats the next day. The algorithms know us more personally than our friends and family. There is a TikTok trend where you talk into your partner’s phone about marriage, so they get engagement ring ads. Why are we in a society where you talk to your partner’s phone instead of your partner? Instagram has also conveniently integrated a shopping tab on its interface, which is so far from what it was initially created for. Innovative as it may seem, are all these changes necessary when they cause people to lose integrity in their content for the sake of likes? When we can finally visit our friend’s homes again, we will see what ads have gotten them. There isn’t a 15-year-old without The Ordinary Peeling Solution and that one pair of TikTok leggings. Yes, we are the ones who hit send, order, and deliver, but when you buy from every other Instagram ad, are you truly who you are meant to be?

We are all becoming the same, and maybe we find that comforting in a time where we all feel alone. I call my friends and we give each other hauls. There’s the one who can’t resist an Amazon gag under $10, the one who is working their way through a used copy of a selfhelp book, the one who bought a posture corrector to fix the WFH hunch, and me, who has tried to cut down on unethical spending but has succumbed once again to the Marshalls Hair and Beauty section (don’t worry, I checked the manufacturing date - I’m a pro). I have only bought a couple of things from Instagram ads, but marketing emails really do draw me in. Last summer, I told a friend I was Instagram’s perfect consumer. They were at the top of their game trying to profit off everyone being home and bored, watching everyone else being home and bored. That was the moment I realized, oh wait, I am becoming what they want me to become, susceptible to every suggestion and a pretty font or graphic. Because my interests are vast, I get inspiration from many facets, and thus, Instagram is a onestop-shop for film, writing, and fashion inspo. But when your feed is the same Zara straight-leg pants paired with the Zara chunky moon boots, you question what happened to being original to our innate creative energy? I’m not sure what the solution to this is, but it did make me stop and think, why did no one

warn me about this? Why did no one say, hey, one day you will be doing school online, work online, family online, entertainment online, shopping online, therapy online, and you will be the one to figure out how to manage it all and not go crazy because no one else will do it for you? We lose ourselves in who society wants us to be until someone or something slaps us awake, and we see we are all sitting at a desk on social media from 9-5, leading the same life as everyone else. I’m still struggling with the fact that we were told to pick a career at 18. Now in our twenties, the biggest choice we have to make is whether we want to spend time offline and outside. I’d like to think we can make the argument that we had no idea technology would take us this far but in the wrong direction. It is important to be optimistic and look forward to the unknown for its possibilities. However, I think it would be unwise to become jaded to the expectation of exploitation. We are in control of ourselves, our property and our information; we can continue to innovate and create at our leisure and not at the expense of others’ wellbeing. Humanity is capable, the question is: do they want to be?

Director: Darrell Wright Jr. Models: Nathalia Beltran, Ben Hall, Tristen Roman, Emihly Torres, & Joplin Warner Photographers: Jackson Ring & Christian Yancey Photography Asst.: Cecelia Hubbard Photo Editors: Jackson Ring Graphic Designer: Lainie Jones Stylists: Brianna Brebnor, Cynara Freeman, & Eren Jones MUA: Emily Haws Set Dresser: Sarah Sullivan

ODYSSEY

Model & Photo Editor: Darrell Wright Jr. Photographer: Alverto Austin II

ODYSSEY

MIG

UEL

VAR

Model: Miguel Vargas Photographer & Photo Editor: Eri J. Orengo

ODYSSEY

GAS

It’s the eve of September 12, 2010, and I’ve been patiently waiting all day for The Video Music Awards (VMA’s). During that previous summer, I became a fanatic of the network’s hit reality show “Jersey Shore”, which introduced me to an entirely new world of pop culture — a world I didn’t know I had so much affinity for. It was the first time I ever felt like I knew what was hot in the cultural zeitgeist. Not to mention my music taste was beginning to develop as I naturally gravitated towards electro-pop which, at the time, was being ruled by Katy Perry, Rihanna, Ke$ha and the world’s most captivating pop goddess, Lady Gaga. Making sure all my homework is complete before the red carpet, I lock myself in my room and begin watching as all the stars arrived in their extravagant looks. All of them exemplify their artistry audaciously, and I have to admit, my sights were set on the lady of the night. Ms. Gaga’s arrival is everything I expected it to be: avant-garde, daring, haute couture, detailed and above all, political. She arrives in a oneof-a-kind Alexander McQueen gown with the most outrageous python-embroidered pumps to match. And her date for the night? A group of gay and lesbian soldiers, standing in solidarity on the basis of Don’t Ask Don’t Tell (DADT). With that Alexander McQueen gown being just one of several outfit changes for Gaga that night, her look that sent the media into a frenzy was her now iconic meat dress. Looking back, this particular dress was turned into punchlines for all the late night talk show hosts the next day, as well as criticized for being overly extra, unnecessary and claiming she was “trying too hard.” The truth, however, is that she was portraying a deeply profound message through this look — something that a pretty sequined mini dress would fail to do. Another VMA’s fashion moment that serves as an excellent example of using fashion as a cultural statement was Rose McGowan in 1998, showing up in a completely sheer, sparkly dress with her entire backside exposed — no bra and a leopard-print thong to finish off the look. I don’t have to be the one to tell you just how vilified this woman was at the time for wearing this particular dress. She was the talk of the town for the few weeks that followed the award show and was demonized in the media. Yet, this look carried its own disturbing meaning behind it, one that the world was simply not ready to decipher at the time. Nearly two decades later, Rose opened up about her controversial look and stated that she was sexually assaulted repeatedly by Harvey Weinstein, and that dress was the ultimate middle finger to Hollywood. All the casting agents, complicit actors and power-hungry executives that maintain a toxic culture in the entertainment industry had driven McGowan to the point of rebellion, and she used a fashion moment to take back her power. What Gaga was exemplifying on this night with the meat dress was innovative fashion in its purest, most raw form (pun intended). The truth is that anything boundary-breaking will always be torn apart at first glance. This goes for any kind of art, not just fashion. Breaking barriers doesn’t mean you start on one side of the barrier and just end up on the other side. There is breaking involved. And breaking is painful, sometimes you will get cut. But it WILL be worth it for the ripple effect it will have on our culture as a whole.

Today, the unnerving Stanley Kubrick film The Shining is regarded as the quintessential example of a modern horror classic, going down in history as one of the most provocative, disturbing films of all time. Yet, on the year of its release it was nominated for several Razzie awards, one of them being for worst director on behalf of Kubrick. The general population simply didn’t get it and found the film to be “too much” or “too weird” for them to comfortably digest at the theater. Decades later, the switch has flipped. It takes time for art to become iconic or memorable, but it’s also a sign of a flawed society that instantly resorts to mockery and criticism when something new comes out. Why can’t curiosity and inquiry from a place of compassion be the first resort for individuals who are struggling to digest a piece of art they may find unusual? This is something I find myself thinking about a lot, and even developing a sense of anxiety about since I am an individual who uses fashion as a form of art to express myself, my beliefs and my thoughts. Why can’t people appreciate and analyze my fashion for its creativity or styling choices? Why must I always be viewed as some kind of anomaly when clothing in and of itself is not gendered (it’s literally an inanimate object). The reason why individuals fear experimenting with their fashion choices or venturing out into various aesthetics and styles is for this very reason. I’ve lost count of how many times friends or colleagues have discussed their urge to wear a particular item of clothing — to make a drastic decision with their personal style — yet feel like they can’t because of what their parents or society will say. The end goal shouldn’t be to simply look good or about how others will perceive you. Truly innovative stylistic choices should come from a place of exploration and curiosity, in hopes for us to find different aspects of ourselves and be able to develop a firmer grasp on who we are as individuals. Yet, we as a society have given judgement and ridicule for those who dare to question the status quo and be eccentric, developing a fear of venturing out of one’s comfort zone and slowing our cultural, artistic and social advancement as a collective. With all that has been said, I don’t mean to diminish how far we’ve come. Individuals like Gaga, Rose McGowan, David Bowie, Prince, SOPHIE and countless others have paved the way for so many individuals to express themselves uninhibitedly, and just now in 2021 we’re beginning to see the fruits of their labor. I know for myself, witnessing moments like the meat dress instilled a sense of creative thinking within me. The belief that one must always question their surroundings and continue opening doors and breaking barriers. What’s next in 2021 and beyond? What other artists will come along and shatter another glass ceiling we may not have even known was there? What kind of advancements are left in fashion, art and media? These are questions that I am excited to answer as time continues, and one that I will keep tucked in the back of my mind — to never remain stagnant with my own form of expression. As tough as it may be to live in a world that so readily ridicules those who go against the grain, it’s the creator who ultimately ends up having the last laugh.

Model: Zulmaris Garcia Photographer: Caitlyn Lombardo Photo Editor: Collin Fells MUA: Shannon Ganeshram

ODYSSEY

KAYLEIGH POWERS Looking both ways down an empty street, green light igniting my own two feet. I pace the intersections of my mind: Pride and Defeat. I can’t help but imagine I’m thinking so selfishly. Though, I suppose aren’t we all? Worried about who is thinking what of me? When in reality, they’re all just thinking of themselves too. All that really matters is infinitely I’m learning to.

Some days, my mirror is spotted and cracked; focused on all that I lack. Tug-of-war with my own reflection; other times, I glimmer golden complexion. In this struggle, another earns my love. That which I give selflessly. Endlessly.

I expect so much of others; holding my standards at extortionate heights.

Always striving for sublimity. It’s exhausting. Unachievable. I feel unaccomplished Because I‘ve been terrified of missing a step; risking being short of perfect, so, I never even got started. I’m clouded with worry and when the worrying is out, I look back on my past, wondering what I was worrying about. Unrightfully thinking of my I had been dismissing the achievements I’d certainly surmount. Like learning to love myself. Like writing again. When the thoughts come out it’s like talking to a friend. A hug so grounding, it’s equivalent to a fairy tale kiss. But the catch is, I’m alone in this bliss.

Still, I will thrive in my generous affection. Hold myself highly like gravity hangs the stars; and love others wildly as we each heal our scars.

ODYSSEY

Alone Is it just me?

I love me. I do. A kind of love that brings the tides to the moon. Finding attraction in everything I see.

Subsequently, I feel as deep as the darkest of seas. Drowning in sensitivities. The world is hurting. I carry the burden with polluted tears streaming down my salted cheek. It’s a figment of my own projection. This idea that all I can create is perfection. Otherwise it’s “no good”. Useless. Unworthy? Give me some mercy.

This consistent cycle of self-doubt. It’s the only thing I’m persistent about.

“Laziness and Underperformance”

Ignoring the voice of deception, in the healing process, I grieve. Down the street to a new intersection, where more challenges will arise, needing boundaries and protection.

Model & Photo Editor: Kayleigh Powers Photographer: Santiago Triana

ODYSSEY

Scan the code above to watch The Making of Issue II: ODYSSEY.

Film Photography: Caitlyn Lombardo Graphic Designer: Darrell Wright Jr.

MAGAZINE STAFF KAYLEIGH POWERS

ERI J. ORENGO

EDITOR-IN-CHIEF CO-CREATIVE DIRECTOR

CAITLYN LOMBARDO

RAQUEL GONZALES

PRODUCTION MANAGER

COPY EDITOR

ODYSSEY

LAYOUT ASSISTANT

STAFF WRITER

NATHALIA BELTRAN

REINA NIEVES

SARAH SULLIVAN

MIGUEL VARGAS

STAFF WRITER

PHOTOSHOOT DIRECTOR

JAMI DOOLITTLE GRAPHIC DESIGNER

STAFF WRITER

DARRELL WRIGHT JR.

ZULMARIS GARCIA

PHOTO EDITOR

VANE SALAS

LAYOUT ASSISTANT

TALA AMALFARD

PHOTOSHOOT DIRECTOR

JACKSON RING

CAITLYN DISTASIO

LAYOUT MANAGER

COPY EDITOR

STAFF WRITER

BRIANNA BREBNOR

WRITING DIRECTOR

SHANNON GANESHRAM

LINDSAY MALLEY

PHOTOSHOOT DIRECTOR

CYNARA FREEMAN

ART DIRECTOR LAYOUT ASSISTANT

MADISON WALKER

HEAD GRAPHIC DESIGNER

KENZIE FOX

BIANCA DIMOV

CO-CREATIVE DIRECTOR

STAFF WRITER

COLLIN FELLS

CARLOS NAPOLEONI

PHOTO EDITOR

LAINIE JONES

GRAPHIC DESIGNER

PHOTO EDITOR

MADELYN O’HALLORAN GRAPHIC DESIGNER

EXECUTIVE BOARD

SPRING 2021 ERI J. ORENGO

KAYLEIGH POWERS

PRESIDENT

RAQUEL GONZALES

SOCIAL MEDIA COORDINATOR

PHOTOGRAPHY CHAIR

CAMPUS RELATIONS STYLING CO-CHAIR

SAMANTHA RAE PETERSEN

SOCIAL MEDIA COORDINATOR

CAITLYN LOMBARDO

SECRETARY

JULIETTE FRANCIS

PUBLIC RELATIONS STYLING CO-CHAIR

MACKENZIE LOGAN

ABIGAIL THURSTON

TREASURER

BRIANNA BREBNOR

MARKETING DIRECTOR

GABRIELLE ARCIA

ZULMARIS GARCIA

VICE-PRESIDENT

SHANNON GANESHRAM CO-BEAUTY CHAIR

DESIGN CHAIR

BRENNA BONENE MODELING CHAIR

CAROLINE SMITH CO-BEAUTY CHAIR

A NOTE ON COVID-19 SAFETY REGULATIONS Photoshoot Directors monitored production and safety of all crew members at in-person photoshoots for Fashion Society UCF. Extensive COVID-19 protocols, including social distancing, equipment sanitation, temperature checks, and mask requirements were enforced. All Florida State CDC guidelines at the date of shooting were implemented and respected. Digital components of the magazine were created remotely amongst staff members. Thank you to everyone who was involved and supported production of this issue.

ODYSSEY