FLASH Issue No.15 Fall / Winter 2020 by FLASH Magazine

NO.15

FALL/WINTER 2020

THE FREE FORM ISSUE

NO. 15

STAFF CREDITS EDITOR-IN-CHIEF

BEAUTY EDITOR

NISHITA NAGA

CELIA PATTERSON

CREATIVE DIRECTOR

CULTURE EDITOR

BAWILA IDRIS

MARINA VERGARA

MANAGING EDITOR

ASSISTANT CULTURE EDITOR

EMMA KOLAKOWSKI

JACLYN SKRELA

SOCIAL MEDIA EDITOR

OPINIONS EDITOR

CHLOÃ&#x2039; FELOPULOS

ALANA RAMSAMMY

ASSISTANT SOCIAL MEDIA EDITOR VICKY CARMENATE

ASSISTANT OPINIONS EDITOR SYDNEY CHAMPAGNE

FASHION EDITOR

LAYOUT TEAM

SHAYLAH LLOYD

CHRISTIANA IM, RUBY LEE, TREY SULLIVAN, KATHRYN SCHULTE

2020

LETTER FROM THE EDITOR-IN-CHIEF Sometimes I think about people telling me that hard times bring about good change. I still believe that now. I believe that when I scream so loud I lose my voice something better will come out of it. Many times, I’ve found that believing this is easier when we are actively fighting, but recently I am not entirely sure that is true. This year showed me that there is a whole mass of people willing to fight for equity, but there is also a significant portion of the world that does not intend to do the same.

FLASH MAGAZINE

FALL / WINTER

The funny part is that finding positive change is a meandering process. I try and find peace in the midst of chaos, but many times I discover myself wading through more chaos in order to do so. Perhaps that’s what Free Form became. Free Form is a visual representation of the collective meandering we might need to do to find positivity and peace while continuing to fight for ourselves. I think part of this is attempting to define this forum for ourselves. Releasing this theme is equivalent to a quiet, reflective moment, and that is something we need after the intense tumult that we have been through in the past year. I want everyone to find themselves to some extent in FLASH. Creativity is a powerful way to reflect – and even speak out. Free Form is FLASH forcing you, the audience, to address what you might think FLASH is. Are we a fashion magazine? Culture? I always thought of FLASH as an unlabelled creative space, a forum to visually amplify the thoughts and experiences of its constituents. For me, the limits to FLASH are endless. To make myself clear, we are still amplifying voices, and we are still fighting for a more equitable world. At the same time, I think it is to find peace and beauty in this so we are not screaming aimlessly when our voices feel like they are giving out. FLASH is for the ambitious. If you are looking to define yourself on your own terms then FLASH is where you can do it. Take part in our collective meandering. There is no limit to what we can become and what we can accomplish as long as people are willing to express themselves authentically. With Love, Your Editor

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CON TENTS

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BEAUTY

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44 U N C R E D I T E D L AYO U T S AND GRAPHICS WERE DONE BY THE CREATIVE DIRECTOR

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OPINIONS

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PHOTOS BY: RUBY LEE

TURE

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y: Jaclyn b s d r o W

Skrela

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Recently I have been thinking about the significance of

on this planet and sells a notion of separatism and individualism that

feeling all of our emotions in their entirety, instead of ignoring or

allows for the creation of hierarchy and the ability to hurt others that

diminishing what comes up within our internal landscapes. While

we deem to be “inferior” to ourselves. The harm of this is even com-

feeling what may appear to be simple and quite self-explanatory, it

pounded by how we hurt ourselves when we internalize the ways we

can be relatively easy to go unnoticed when we live under systems

are told we are “less than”, and further subjugate ourselves to those

that benefit from us avoiding our emotions. With that in mind, let-

false notions throughout our lives.

ting ourselves experience all of our emotions fully can actually be far more important and essential than we might originally believe. Such a process can actually allow us to better honor ourselves and to disentangle from the beliefs ingrained in us by external forces.

Permitting ourselves to feel the full breadth of our emotions is beneficial in part because it allows us to get at the core of who we are, beyond what we have been conditioned to believe about ourselves and our place in the world. Doing so is an act of reclaiming our au-

Throughout our lives, we are force fed ideas of what kind of emotions

tonomy and our power from our families, friends, culture, society, and

we are allowed to have, and when we are allowed to have them. Much

anyone and everything that is not us and has tried to tell us who or

of this process begins when we are children. For instance, when

what we are and should do/be. This process can begin with inves-

young children are throwing a tantrum, they are often automatically

tigating our emotions and unlearning the ways that we have been

punished, instead of being asked why they are upset or angry in the

taught to view and react to them. I don’t have to subscribe to ideas

first place. This is a sign from the get go that certain feelings are

that sadness and anger are inherently bad or negative, that anxiety is

“bad”, i.e. worthy of punishment, while others are “good” and do not

shameful, that I should hold in my tears, or that I shouldn’t be hurt by

warrant further action. According to our societal notions, it is “bad”

past traumas because they “weren’t a big deal”, and neither do you,

to be angry, upset, worried, hurt, lonely, confused, and so on. These

or anyone else for that matter. I can even take this work a step further

are considered our “negative” emotions. Even our “good” emotions

and apply it to all aspects of myself and my life. I can ask myself:

can easily be made bad. Take the example of a child that’s bubbling

what are the things I believe about myself, those around me, and the

with happiness or excitement, but is shut down or reprimanded and

world itself? Where did those beliefs come from? Who (or what) are

told to “calm down” or “be quiet.” Our emotions do not have any pre-

these beliefs serving? Do I actually agree with them? If not, how can

determined worth, they are not inherently positive or negative, bad or

I actively work to shift those beliefs to make them resonate? With

good. They just are. Yet, we are forced to monitor our own emotions,

these questions, and with what I am arguing here as a whole, I am not

and make ourselves feel guilty for feeling the “wrong” thing at the

only calling for your full depth of feeling, but for an attitude of skepti-

“wrong” time throughout our entire lives. This process creates forms

cism and awareness by which we can recognize what is helping us in

of self-repression, self-shame, and even self-punishment, that haunt

order to nurture those things, and identify what is harming us so we

us in ways that we are often not even aware of.

can process it and eventually discard it.

Reading Sister Outsider by Audre Lorde has been one thing that has

In many ways, it is a privilege to be able to look inwards, to contem-

helped me better understand the necessity of our full depth in feel-

plate and reckon with one’s internal state, when many are concerned

ing. In “Uses of the Erotic: The Erotic as Power,” Lorde writes, “for as

for their daily survival, or simply do not have access to the time or

we begin to recognize our deepest feelings, we begin to give up, of

resources that allow for such work. That being said, I argue that such

necessity, being satisfied with suffering and self-negation, and with

a process is paramount for all of those who are able to take part in it.

the numbness which so often seems like their only alternative in our

This is because letting ourselves embrace our feelings and encounter

society.” The “erotic” that Lorde is championing in her essay refers

the experiences to which they relate permits us to respect ourselves

to our innate wisdom, emotion, and power, among other things, and

in our entirety, and work towards getting closer to the power that lies

it is what we have the opportunity to discover when we tap into and

within us. When we are able to root out the truth, of ourselves and of

acknowledge our “deepest feelings.” When we diminish, ignore, or

others, from the entanglement of ideas planted within us by external

avoid these feelings we are preventing ourselves from recognizing

forces, we are able to discern what we believe to be genuine, and are

our inherent worth and goodness. That is why it has been a tool

able to rid ourselves of that which we find false and/or harmful. While

for those in power to keep us as a society ignorant of our feelings.

doing this can be a long, and even challenging, journey, perhaps you

Dismissing these feelings erases our inherent connection as beings

can begin to embark on it by feeling all it is that you have to feel.

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Hello My Name Is?

Words by: Marina Vergara Illustrations by: Christiana Im Photos by: Ruby Lee

Gazing into the looking glass, (time has long since melted away) I study the person staring back at me. Trying to uncover, digging deep at the skin with a shovel, Hunting for whatever truths my mind fails to see. I see a round face framed by faded purple hair, Cut short to an overgrown buzz, tended to like a wilted orchid. I see mascara-smudged eyes, piercings to hide behind, And lips that crave to be loved. I pick up the phone and dial the number I know all too well.

The line goes dead. A monotonous beep fills the perpetual silence. The quotidian conversation ends once more, A never-ending exercise, a game of “who are you” No. That’s not good enough, Who are you really? I hear the voice say. I thought I had the answer, Time and time before, But everytime I fill out the sticker, the box, the label I do it in Sharpie. Doesn’t wash out. I have to scribble over the shaky lettering, And start anew. (I hope this time I’m right.) A continual guessing game of identity, Go fish, draw a card, Maybe this time I’ll play my hand like I’m supposed to. Too bad I don’t know (and don’t follow) the rules.

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“Hello my name is…” “What’s that now?” “Marina.” “Marina? Who’s that now?” “Hello my name is…” “What’s that––” “Bisexual.” “Okay.” “Hello my name is…” “What’s––” “Lesbian.” “Okay.” “Hello my name is…” “W––” “Queer?” “Okay.” “Hello my name is?” “Hello?”

FLASH MAGAZINE

Queer

is what I

drew from the deck And, in this present moment, it’s what feels alright. Queen? King? Maybe somewhere in between? It’s hard to tell when the mirror is cloudy, When the person behind the smoke doesn’t want to be seen. But I have found at last, After wiping away the fog, The perfect combination of specificity and fluidity, D. all of the above. I know I exist somewhere outside of the box of heteronormativity, I like to color far over the lines, Using the whole crayon box, To paint the face reflected back at me. I have learned to like the person I see, To be friends with a face of uncertainty, Who knows where this next path will lead?

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NO. 15

Imprisoned in Beauty: The Magnetism of Liza Lou’s Impractical Kitchen Words by: Emilia Figueroa-Valik

Graphic by: Kathryn Schulte

Last January, before such pleasures were taken away an ordinary kitchen has bits of food lodged under

from us, I visited The Whitney Museum of American Art. I found the stove burners, a stained countertop, maybe myself walking through Making Knowing: Craft in Art, 1950-2019, a few vegetables rotting in the fridge. However, an exhibition exploring craftwork techniques such as weaving, pot- Lou’s kitchen is flawless, uninviting, and tery, clay, and textiles. As I walked through the exhibit, wide-eyed untouchable. Her ability to transform a stuffed animals pinned to a quilt stared me down. A pile of black snippet of daily life into an alternate, cord hopelessly tangled in a mass on the floor felt menacing. The uninhabitable reality, elevates the banal proximity of the objects, in addition to the way they pulsated with into a resplendent work of art. life, gave the impression that at any moment something would slither over and touch me. My uneasiness dissipated, however, Lou asserts Kitchen, “argues for the dignity of when I laid eyes upon the pristine, sterilized sanctuary that is Liza labor.” But in spite of her apparent celebration Lou’s Kitchen.

of a kitchen’s matriarchal significance, many of the piece’s more subtle details seemingly cater

The piece is a window into an unnamed woman’s life-- a kitchen to some invisible male presence. For example, a built to scale, complete with a table, chairs, and appliances. Lou fresh pie sits on the oven rack while nude pin-up spent five years building the work; after constructing a given object girls covertly line the oven’s interior. A six pack of using papier-mâché, Lou would painstakingly cover its exterior with Budweiser rests on the counter. In accordance tiny glass beads, one bead at a time, with a pair of tweezers. From with this seemingly reductive representation the immaculate replication of a crinkled Lays chip bag to the soapy of female life, the newspaper on the kitchen waves engulfing dishes piled high in the sink, millions of beads table shows a headline declaring “Housewife glitter in perfect stillness.

Beads the World!” Similarly, a book containing a fragment from an Emily Dickinson poem

The first time I saw Kitchen, I believed Lou was exalting femininity, sardonically reads, “She rose to his requirements, dropped specifically aspects of femininity regarded as uninspiring. Lou the playthings of her life to take on the honourable work of employs beadwork, an artform dominated by females, which is woman and wife.” Kitchen’s opposing dynamics illustrate often derided as a medium solely for creating frivolous trinkets. the multifaceted nature of femininity. Lou contends Kitchen defeats this preconceived notion of feminine art in its femininity and its traditional link to domesticity is solemnity –-the piece feels untouchable, even sacred, like the beautiful and worthy of portrayal while demanding women stained glass windows of a cathedral. Lou’s subject matter is and our passions be taken seriously; we exist independently equally relevant. Kitchens were once the epicenter of female life, from our role as housewife or mother. After all, the kitchen is that place where our mothers and grandmothers, willingly and only one room of an entire unseen house. begrudgingly, spent countless hours toiling to feed their families. That once unremarkable place is now stranded in the middle of a While Lou intentionally draws on gender norms as a means to fine art exhibition. question and subvert them, Kitchen also hints at the sinister side of femininity. Unlike the other pieces in the exhibit, in Lou toys with the significance of a kitchen and its traditionally which there is ample room to circle around and observe them feminine connotations. On the one hand, Lou ennobles the from all vantage points, homemaker role by uncovering its beauty. We tend to distinguish art from the unremarkable based on the criterion of accessibility:

FLASH MAGAZINE the viewer is kept at the periphery of Kitchen and afforded only one side

brutal gang rape of Jyoti Singh seven years ago. India has the

window to observe its interior. Viewers, of course, are not allowed inside

highest rate of violence against women in the world, with up

Kitchen; one misstep and thousands of beads would break loose. The

to 90 reported cases of rape per day, and many more victims

distance imposed between the viewer and Kitchen is necessary to preserve

staying silent. The fear of retribution, coupled with bearing

the integrity of the piece, but it also calls attention to Kitchen’s extreme

the burden of intense shame and guilt, keeps women from

fragility. This vulnerability fundamentally transforms Kitchen’s triumphant

speaking up. Instead, they are forced to bury the experience

depiction of the beauty inherent in femininity into a fitting metaphor for

in some dark corner where it will never see the light of day. A

the female experience: precarious. As women, we are often trapped within

2013 United Nations survey in Egypt found 99% of its female

the windowless confines of our own femininity, tip-toeing around, making

population had experienced some form of harassment. While

ourselves as unobtrusive as we can bear, so as not to disrupt the fragile

femininity may evoke the glittering perfection of Kitchen, this

beadwork of our lives.

conception of women is brittle, unlivable, and exceedingly delicate.

Through adolescence, girls are coached on how to behave themselves to ensure they appear inviting and receptive rather than headstrong and

Whether you find Kitchen baffling or are unable to tear

abrasive. We are taught to maintain a pleasant temperament in

yourself away, the piece is an act of defiance. Kitchen

the face of adversity and be quick to placate anyone we

challenges how we distinguish between the ordinary and the

may accidentally offend. We must be gentle and

sublime, between rebelling against the tools of traditionally

obedient. But regardless of how well we perform

feminine labor and elevating them into works of transcendent

this exhausting and unattainable vision of femininity

beauty. Lou zooms in on a kitchen, frozen eternally in time,

in public, in the workplace, or even in our closest

to comment on the outwardly pleasing yet ultimately shallow

relationships, our collective fate remains unrelentingly

nature of a woman pigeonholed as a supporting character in

uncertain.

a man’s story. When I first saw Kitchen, I was captivated by its exacting precision. But after a few minutes, its stillness

Having chosen to live abroad this year, I was repeatedly warned by others about places that were unsafe for women, streets I should never pass through unaccompanied, and how to appease a male neighbor who attempted to kick in my door one night. Beyond the relatively minor inconveniences I face in navigating daily life, women all

This vulnerability fundamentally transforms Kitchen’s triumphant depiction of the beauty inherent in femininity into a fitting metaphor for the female experience: precarious.

around the world are trapped inside the three glass walls of Kitchen. We look out at a

was intolerable. It was as though the piece was daring me to

world in motion that we can never truly inhabit, while

step inside, touch its walls, and even yank off a few beads.

we ourselves remain stagnant.

Maybe the piece is daring all of us to destroy it, to refuse its precarious stillness, and to refuse to be dismissed and

For example, the recent death of feminist icon Ruth Bader

minimized any longer.

Ginsburg enabled Amy Coney Barrett’s confirmation, a justice who may potentially undo Ginsburg’s life’s work. Our reproductive rights hang in the balance, reaffirmed only to be threatened once again. The inertia of Kitchen mimics the way women all around the world find themselves paralyzed. What’s more, Kitchen’s Dickinson poem about “dropping the playthings” of one’s life speaks to the way women are often regarded as frivolous; its hidden pin-up girls demonstrate how we are sexualized and then made to be invisible. This past December, women in India took to the streets to protest the lack of reform protecting women from sexual violence after the

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Through this process, artists have been able to join together and contribute their own perspectives, experiences, and messages to the murals spreading across the United States. There are now murals in New York City, Chicago, Seattle, Tulsa, and Oakland. Some are painted with the same bright, yellow letters as the first one, but others have added different ideas and elements. Various murals in Manhattan (specifically in Harlem and Foley Square), Brooklyn, Chicago, and Seattle have made each letter of “Black Lives Matter” into its own statement. In Brooklyn, for example, the names of victims of police brutality and Black activists were added to the original yellow.

Art Art Beyond Beyond the the Canvas Canvas Words By: Alex Chambers Graphics by: Ruby Lee

go-based artists to join together to complete each of the 16 letters in a different way. One of the murals in Oakland, California extended the phrase writing that “all black trans / queer / nonbinary / woman / disabled / imprisoned lives matter.” This example particularly highlights the importance of intersectionality in the Black Lives Matter movement and the necessity of striving to affirm every Black life. Historically, art was also a major part of anti-war protests during the Vietnam War. Collectives such as Artists and Writers Protest (AWP) in New York City and the Artists Protest Committee (APC) in Los Angeles were some of the first groups of artists to take action. As more artists became involved, art became an integral form of protest against the Vietnam War. For example, both AWP and APC were involved in efforts to build the Peace Tower, or Artists’ Tower of Protest, in Los

Creativity requires breaking norms, as it is through ideas that

Angeles. Peace Tower emphasized the intersection of art, protest,

extend beyond the limits of societal standards of beauty and artistry

and politics. It gave a platform to hundreds of artists, both well-known

that the most original art can often emerge. We are all acquainted with

and amateurs, to speak out against the Vietnam War, as the structure

what is standard, but art that takes the viewer beyond their common

displayed 418 panels, each bringing a different artistic style and offer-

world and into another world of thought can create a lasting and memo-

ing a unique perspective to the anti-war sentiments being expressed.

rable impact. Of course art will exist for purely aesthetic purposes, but it

However, it was highly controversial and was deconstructed only

can also provide a powerful platform for people to depict the world that

three months after its unveiling due to backlash, repeated vandalism,

exists around them. Protest in particular grants artists such a platform. The intersection of art and protest is a near perfect match as the desire and ability to question and change our society is embedded in both. A canvas isn’t the only place that art can take its shape. Black Lives Matter murals have been painted on streets throughout the United States, following in the brushstrokes of the first mural in Washington D.C.

In Chicago, one Black Lives Matter mural became a way for 18 Chica-

and clashes between pro-war and anti-war supporters. Following its removal, no museum opted to claim the art for their own collection due to its deeply contested and political nature. The fact that it was removed only serves to emphasize how powerful the impact it had was, as if it had not challenged our world there would not have been such an incentive to tear it down. Peace Tower therefore embodies the power of art to organize people and incite change.

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Art can also communicate political and social messages unrelated to specific protests. Illustration specifically highlights the artistic push for change, as social issues and progress are cornerstones of modern illustration. Emotions and ideas are often shared through a single line, rendering illustration an art form that must simultaneously be creative, critical, emotional, and share a message. These traits make it a branch of art that allows artists to create change, inspire pathways for active engagement, encourage empowerment, and have a strong voice both inside and outside of the world of art. For example, an artwork displayed at the Society of Illustrators expresses the threat of climate change. Titled “The Last Polar Bear,” it depicts a lone polar bear on a melting iceberg, its skeleton reflected on the water below. Another illustration exhibited, “Voter Rights,” depicts a voting machine blocked by a gate, which represents voter disenfranchisement. Though simple, the messages of illustration are powerful and can teach us about our current, modern existence. The platform of illustration allows artists to communicate societal triumphs, failures, and controversies to capture the specifics of the era we live in while also sharing their own thoughts, ideas, complaints or solutions.

While art alone does not result in the changes that protests strive to achieve, it’s a useful way of spreading messages and emphasizing the societal flaws we need to work to ameliorate. It also creates an avenue for all kinds of creative people to find a community and a platform to share messages and stories through their artistry. Whether it is done directly or indirectly, art can challenge the society we live in. It can take any kind of form to express a variety of different artistic purposes, therefore defying norms and social conventions becomes a natural part of the artistic process. Art would not have the value it does if it repeatedly depicted the same thing in the same way because meaningful creativity and expression is tied to breaking down standards. Art is a place where the rules of society need not apply, granting artists the chance to use their freedom of expression to paint the world as they see it, create entirely new ideas of the world, and inspire the changes that they hope to see.

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FLASH MAGAZINE

PHOTOS BY: RUBY LEE MODELED BY: DANIELLE DAVIS, ELIZABETH WEINSTEIN & CLAIRE PENNINGTON STYLING BY: MARIA KOBLISH, MARINA VERGARA & JACLYN SKRELA CREATIVE DIRECTION: MARINA VERGARA & JACLYN SKRELA

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NFAS PHOTOS BY: AUDREY TIRRELL

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The Show Goes On

â&#x20AC;&#x153;Fashion shows and creativity are not the cure for this pandemic, but they work as an antidote to help people travel away from their current reality to a world of texture, colors, and inspiration.â&#x20AC;? Words by: Brenda da Silva Graphic by: Kathryn Schulte

FLASH MAGAZINE

The photographer Bill Cunningham once said that fashion

tions and sudden changes were a few of the results of COVID-19. The

worked like armor to guide people to survive the hard reality. Today, ex-

brand Koché, for example, had problems with location after the French

periencing the COVID-19’s virus’s constant spread, people have become

government banned gatherings of more than ten people in public

more aware of the things that distract them from these cruel times.

spaces. Instead of using a new creative style to show their work and

Fashion shows and creativity are not the cure for this pandemic, but

respecting the social distancing orders, the Koché team negotiated

they work as an antidote to help people travel away from their current

with officials to separate an area of the Buttes-Chaumont park with

reality to a world of texture, colors, and inspiration.

a velvet rope so that space was considered private. Although there weren’t relevant impacts on the show’s development, it was highly

Fashion is visual communication; it is a language in which many con-

criticized for the lack of consideration and attention to those suffering

noisseurs communicate and understand each other. Fashion shows

from the pandemic results.

demonstrate this sentiment, and COVID-19 has not taken away this art of communication. The creative skills of designers adapted to find

Balmain’s show happened at the Jardin des Plantes. Different types

ways in which they could still communicate their ideas.

of impressive garments, thigh-high boots, jeans, neon suits in many colors, everything illuminated by the starlight. Even the beautiful

A Chinese leading fashion designer, Fang Yang, decided to move her

clothing couldn’t erase the fact that there were still practically no con-

entire runway show to an online platform where she live-streamed her

cerns with social distancing. There were people in-person watching

creations. Bright lights and colorful clothing with beautiful embroidery

the show, and right after the show started, screens on one side of the

and many details were capable of enchanting all fashion admirers, but

runway showed A-list celebrities who couldn’t make it to the show, in-

this time through the glass screen of their cell phones or computers.

cluding Jennifer Lopez and Anna Wintour. In this case, the technology

Models walked down the small space that Fang Yang had available in

used was new and remarkable, which increased the shock about the

her atelier. There was no front row, as many spectators instead watched

preference for a half in-person show when they could easily have used

the show from the comfort of their home. It is a new experience where

this strategy for every guest.

everyone gets to feel like they are in a prestigious spot at the fashion show.

The French house Dior had a different approach. Maria Grazia Chiuri showcased the Autumn-Winter 2020-2021 Haute Couture collection

This scenario was akin to many other brands. In fact, it was the reality

in a film directed by Matteo Garrone. This unique film shows the Dior

for many shows of Paris Fashion Week 2020. Brands had to account

garments in a miniature version, with an intriguing plot that keeps

for every health and fashion requirement so that the show could go on.

viewers interested. It starts giving the viewers the process of creating

One of the most important events in the fashion world demonstrated

small dresses. The dressmakers are developing each piece carefully,

how brands increased their creativity to deal with significant changes

paying attention to little details as in the embroidery on one dresses’

and how there were brands that still opted to keep the traditional style

skirt. The scenario then changes to a forest that appears to be the

having few considerations regarding our reality.

home of several mythical creatures, like nymphs and mermaids. Two men travel with a trunk in which they carry the miniatures, showing

Founder of Fabricant, Kerry Murphy also had to use the help of technol-

and giving them to creatures that live in the woods. In the end, the

ogy due to lockdown orders. Murphy explained his brand proposal of a

movie shows how the dresses looked in a regular size; all the crea-

digital catalog even before the pandemic had started. The brand’s idea

tures seem delighted to have Dior covering their bodies. Many viewers

advanced even further, becoming the first-ever brand to create a digital

believe that this strategy was better than the regular fashion shows

platform that permits buyers to create avatars of themselves wearing

because instead of just watching models down the runway, they get

the brand’s digital clothing. As Murphy suggested, a great strategy is

to see the collection through a well-made film.

that instead of buyers sitting in rows, give them a similar experience using the technology we have today and ask them to participate.

COVID-19 brought many changes to the fashion industry. Still, when looking at those changes with rose-colored glasses, fashion lovers

While several designers preferred to transform their shows to the online

will see that it was the push that the fashion industry needed to in-

format, there were still in-person shows disregarding the high contam-

novate.

ination levels. For those that chose the traditional methods, complica-

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What Does It Mean A woman who will cut you with her curves and entice you with your words. A dream.

A curse.

A lion.

Wild, free, ferocious. Not to be tamed. An overflow of cockiness. Drink if you will. A gun.

A beast.

A phoenix reconciling the quarrel between life and death. An extreme beauty born from the in-between, a babyâ&#x20AC;&#x2122;s fiery breath. A human celestial covered in lacey and leather material; a woman who eats and blooms and wears her body better than any costume.

FLASH MAGAZINE

to be Savage?

Words by: Jessica Yu Graphics by: Kathryn Schulte

FASHION

NO. 15 Despite this mistake, the diversity is obvious. There is nearly every

This is the introduction to Rihanna’s Savage x Fenty Show, Vol.

single shade of skin in the show, as well as every size and body type.

There are also men of all shapes and sizes. Dexter Mayfield struts un-

It opens with a voice that’s distinctly Rihanna’s: “Storytelling is the last part of any journey. There is experience. And then there’s that emotion that’s connected to that experience.” She is right. And the audience is hooked.

der strobe lights, shirtless and fierce in an objectively amazing catwalk. There is even diversity in haircuts. Women in pixie cuts and mullets and mohawks. Beautiful hair is no longer constrained to bouncy curls found in the pink walls backstage of Victoria’s Secret fashion shows.

Then, the voice of another woman, with hands like claws,

The makeup is also incredibly artistic. The face is a canvas and the

adorned in floral patterned lace and sharp colored nails entered

makeup artists were hired to draw on the dancers. Abstraction trumps

the conversation. The voice describing a savage. The dancer

convention. Beauty defies restrictions.

embodying that savage.

Later on in the show, we hear Rihanna say, “It really is inspiring to

I know. I understand what a savage is. I see what a savage is.

me how you can use colors, paint, makeup textures just to embody

Then, the savage, having finished her dance, walks across the

drag queens: it’s an entire change in persona. We hear other members

screen. Left to right, introducing us to another row of dancers. Kendrick Lamar’s song Poetic Justice plays in the background. With the dancers, you see that it is poetic justice indeed. So, where is justice to be found in lingerie? For one, it’s for the she’s and they’s and even he’s that grew up being sold a very rigid idea of the feminine ideal. A girl who will flash you a bright smile and intimidate you with her thinness.

whatever you want to.” She talks about how powerful lipstick is for of the cast, as Ciarda Hall, speak of constantly dyeing her hair when she was younger, never wanting to stick with one look when she could explore it all. Precious Lee does the same thing, but with haircuts instead of colors. It allows her to explore gender and sexuality however she wishes, she says. We hear what we didn’t know we needed to. That we are fluid beings and we can practice that fluidity with our appearances. We don’t owe

A woman with ‘tamed’ hair. Caged, scared, gentle. A contained

it to anyone to appear a certain way or exist under a certain label.

scream.

Sexuality, Rihanna says, is “that empowerment in wearing whatever the hell I want however the hell I want to wear it. For myself… it is

You know what I’m referring to. You see the pink and baby pink

something that has to be owned or earned.” Despite this being a per-

stripes and smell the bombshell perfumes and see the fantasy

formance, every cast member has reasons for being there that con-

bras. You hear them reciting their pre-show diets and wonder how

cerns only themselves. It’s empowering with or without an audience.

they can survive for two months without any carbs. And that was a pre-keto world. The very sad truth is that other lingerie and swimwear shows were essentially responsible for feeding into the insecurities of millions of women. For making any non-white and skinny woman feel unseen. For selling us lies. Rihanna’s show is a direct response, a callout. One very-well executed, except for insensitively including Hadith, an Islamic verse in the show. After receiving backlash, Rihanna issued an apology, saying “I would more importantly like to apologize for this honest, yet careless mistake… I take full responsibility for the fact I did not research these words properly.” One.

Just like that, they answer the question of why this all matters. Why should we care in a pandemic-stricken apocalyptic world? Because we’re art. There’s art in our savagery that needs to be shared. Behind the art in this show are multiple artists at work, including Parris Goebel, who New Zealand Prime Minister appointed as “New Zealand’s entertainment and cultural curator” for the 2020 World Expo, is an award-winning choreographer who has worked with multiple celebrities such as Ciara, Nicki Minaj, and Jennifer Lopez. She now adds Rihanna’s Savage x Fenty show to her repertoire. Under Goebel’s expertise, every dancer is savage in their individuality, transcending the lingerie they are selling. They aren’t merely sexual beings; they’re artists, emotive, talented, skilled.

FLASH MAGAZINE “There’s no book written on how to be a woman.” I might have to disagree with Rihanna there. There are books that do instruct women on how to be themselves. And even without those magazine headlines and literary tropes, we have other manuscripts in the shape of advertisements and male scrutiny. But I know there shouldn’t be. And at least in Rihanna’s Savage x Fenty garden, which appears in the latter half of the show, there isn’t. Rihanna blossoms from a human-sized flower, exuding an ethereal feel. She stares into the camera and looks down at herself. There’s that acknowledgment of our presence and the dismissiveness of our gaze. We can stay and watch if we’d like. And we do. exuding an ethereal feel. She stares into the camera and looks down at herself. There’s that acknowledgment of our presence and the dismissiveness of our gaze. We can stay and watch if we’d like. And we do. She walks through a garden. Remember what I said about Dexter Mayfield’s walk is one of the best ever? Well, so is hers. The electric colors wash over the garden of women, dancing, and posing. Rihanna smirks a little. This is one option of how to be a woman, it suggests. But only if you want to be. This is femininity unthreatened even by the presence of men: Miguel and his band. The last scene in the show takes place in a factory-like room. People, women and men, dance to Parris’ choreography on tables and drag queens runway walk across assembly lines. The ironic message is clever: we are not factory-made. Our bodies are not meant to be duplicated from magazine prototypes. The dancers and models stomp all over the factory surfaces, victorious against its limits. This is justice served, savagery owned.

NO. 15

The Ugly Side: How the

Pandemic Has Revealed Systemic Inequality Within the Fashion Industry

Words by: Mia Agostinelli

In this world, nothing is perfect. We may strive our

modeling industry right now. We are seeing, to put it in more

best to achieve a traditional, ingrained concept of perfection,

metaphorical terms, imperfection in the business centered on

but everything will always have â&#x20AC;&#x153;flawsâ&#x20AC;?. In an industry that con-

perfection and we are faced with a choice. Ignore it and let the

cerns itself with portraying an image of perfection, in whatever

inequality continue, or choose to do something about it and

subjective way that is, the conditions that arise for the inability

alter how this industry is for the people that embody it.

to meet specific and (arguably) superficial goals allow a glimpse at a world that we know exists even if we fail to acknowledge it.

To gain an insiderâ&#x20AC;&#x2122;s perspective on this subject, I had the oppor-

Oftentimes, when all of society is struggling, we become aware

tunity to ask somebody who is active in the modeling industry

of the areas in which we lack this conceptual perfection that we

right now. Elisabeth Lake is a model for IMG Worldwide, which

seek. And, therefore, we begin to acknowledge the people that

is a renowned top modeling agency. She has continued working

are suffering the most. In this instance, I am not just talking

this year in London, Paris, and Milan throughout the pandemic.

about perfection in terms of beauty, but rather in terms of soci-

When asked about the various impacts of the pandemic within

ety as a whole.

her job, Ms. Lake expressed her primary financial concerns in regards to the slowdown in work over the past six months and

The emergence of COVID-19 at the beginning of this year has

hoped that as work picked back up, financial conditions would

made the modeling industry directly confront the systemic

improve. According to a survey conducted by the Pew Research

problems that it has chosen to ignore for too long. This goes

Center in the United States, 60% of workers surveyed who lost

without saying, of course, that the concerns that have arisen

wages during the pandemic are still earning less. The financial

within the modeling industry are not more significant than

impacts are long-lasting and have been felt system-wide. 42%

underlying complications within different industries. Rather,

of respondents in the same survey say that they or somebody

many of these issues are the same, or very similar, to those that

in their household lost a job or suffered a lost wage due to the

are present in every level of our society. Concerns like general

pandemic. That number increases among lower-income individ-

impacts on finances, working conditions, relationships with em-

uals and Black, Hispanic, and Asian Americans and is not felt in

ployers and management agencies, and labor protections are

one industry alone.

all problems that individuals are facing both in and out of the

FASHION

FLASH MAGAZINE

The most impactful consequence of the pandemic is the rise in financial inequality and the inability for individuals to afford necessities. In a survey conducted by The Model Alliance earlier this year, which is an advocacy organization for individuals within the modeling industry, 20% of the just over two-hundred models surveyed said they did not have enough money at the time to cover basic needs. Furthermore, only 6% of respondents said they had the ability to claim paid sick leave, only 7% were receiving unemployment benefits, and 21% were not covered by health

these changes to the industry are long overdue and go beyond

insurance. These figures alone show just how much needs to be

just representation. Expanding and ensuring equality within this

done in terms of reform- even when the world is not in the middle

industry alone means that including models of color also involves

of a health crisis everybody should have the ability to claim paid

protecting their right to work, speak up, and receive a wage that

sick leave, receive unemployment benefits if necessary, and have

is equitable, livable, and equal to that of their white colleagues.

access to affordable healthcare while making a wage they can live on. Those necessities should not be unattainable to individu-

Wage disparity is directly connected to other important issues

als no matter what industry they choose to work in.

within the modeling industry as Ms. Lake expressed when discussing working conditions and the sheer reduction in clients.

In all of the categories sampled, models of color disproportion-

“Work conditions right now are taken very seriously...everyone

ately expressed concerns about the ability to afford basic needs

seems to be taking precaution[s] because, as creatives, we all

and advocate for workers’ rights. “I know my agency represents

want to be able to continue to work,” she said. “This season was

a wide range of models with different body types, ethnicities, and

especially difficult for ‘new face models’ like me due to the fact

backgrounds,” Ms. Lake said when asked about diversification

that the limited brands who were doing shows were mostly using

within the modeling industry. “Although I believe the industry

girls they had already used in the past. Additionally, girls were

has much more work to do, I feel that this season I have noticed

only called to castings on request where, normally, agencies

designers especially make it a priority to showcase much more

would send all of their show package girls to every casting. For

body equality and models of all backgrounds.” In an interview

example, all of the girls I know went to about 4-5 castings in the

with Elle in September, model and media star Indya Moore shared

span of a week where normally during a regular fashion show

their experience, “I hope that fashion designers and creators are

season girls would be sent to about 10 castings a day.” Among

taking the time right now to learn about real folks’ circumstances, so they understand why it’s so important to represent these people on their runways and in their brands”. This argument and

NO. 15

FLASH MAGAZINE

the individuals in the same survey by The Model Alliance, 56% of white respondents said that if they were unable to work for an additional three months after the survey was conducted they would be able to afford basic necessities. Among respondents of color, that number falls to 39%, and of black respondents that number is only 34%. Nearly half (45%) of respondents in The Model Alliance survey said they feared retaliation if they spoke up about working conditions. In Ms. Lakes experience, she feels confident in her agency’s ability to defend the rights of her and other models, but she also said that she cannot, unfortunately, speak to the stories of other models and their agencies. Among “Black and African Americans” surveyed by The Model Alliance, only 22% of them said they would feel comfortable advocating for COVID-19 precautions; even if there were to be safety violations- these individuals would be the least likely to speak out about it. The existence

foreground of the industry and will not become any less preva-

of organized labor, while present in other professions, is notably

lent, it may be time to establish a way for models to advocate for

absent from the modeling industry and it is important to note

their own workers’ rights.

that a lack of union protection implies the inability to collectively bargain for workers rights which often include labor protections

The impending question, now, is what does this all mean for the

and more equitable pay. Many people have called for the creation

industry? How do we take the first steps in addressing all of these

of unions for models specifically in the United States prior to the

issues? How can we make a difference? Widespread systemic

pandemic. Now that all of these workers rights issues are at the

change often is slow and daunting. It can even be discouraging at times, but the progressive actions taken by individuals within the modeling world and by people who support it only make way for more progress and change. It is true that these tough times have revealed the ugly side of the fashion industry. It is a side where people are struggling financially, socially, and emotionally. But emphasizing these issues is only the beginning. Speaking out, being an advocate for these individuals, and giving unconditional support will drive the change that will give them the protection they need in this trying time and in the years to come.

FASHION

NO. 15

FLASH MAGAZINE

PHOTOS BY: AUDREY TIRRELL MODELED BY: AUDREY TIRRELL STYLING BY: AUDREY TIRRELL PIECES FROM: AURORA AUDREY ON ETSY.COM

FASHION

NO. 15

BEAU

TEY FLASH MAGAZINE

PHOTOS BY: ELLA LEE

BEAUTY

N O. 1 5

Feminity Through My Hair

Words By: Emma Federer Graphics by: Celia Patterson

F L A S H M AG A Z I N E

“Hair is perceived to be an essential part of feminine expression.” I had the pleasure of speaking to

While the negative social media comments are to be expected,

Madrid-based film artist, Selpide, about

there was an overwhelming amount of statements that

her experience of expressing herself through her hair.

aggressively projected politics onto one woman’s personal

During a challenging time in her mental health journey,

hair styling choice. Looking deeper into their vicious hate

Selpide decided to make a fresh start for herself. In a flurry

comments, I found some common assumptions made about

of spontaneity and friend-filled fun, she shaved her head.

Selpide for her shaved hair. She was automatically queer-

Selpide’s new hairstyle happened to fall on the date of an

coded, politicized, and sexualized for her hair exists outside

annual tradition she has kept with a close friend. On the first

the beauty ‘norm’. I want to take a closer look at what this

day of each year in university, they have posed by garbage

standard for hair is, why anything outside of the norm is

cans to be the twitter #trash they aspire to be. Since this is

immediately coded as ‘other,’ and why there is such a violent

her senior year, Selpide posted the compilation of photos

reaction to any shift in the expected.

over the last four years, showing their emotional (and physical) evolution over time. Others joined in the fun, making the tweet viral throughout Spain, but with great fun comes even greater trolls. While Selpide identifies as bisexual, she hasn’t made any accouncements online nor any political statements associated with her physical appearence. Assumptive and rude as ever, men with a political agenda of the internet latched onto her hairstyle without any evidence or invitation to purposefully misgender Selpide, accuse her of sex work in a derogatory manner, and idly claims that higher education or university is nothing more than a lesbian factory.

BEAUTY

N O. 1 5 Hair is perceived to be an essential part of feminine expression. Not only are women expected to spend egregious amounts of time and money on maintaining their hair, there seems to be a eurocentric standard of hair amplified by the male gaze that our society deems the most feminine and therefore most ‘beautiful.’ Emily Ratajkowski got into a bit of a scandal for an ignorant instagram caption that read “Long hair is a fundamental part of beauty, femininity, and identity.” Of course, this excludes women with shaved heads, short

“Your hair, whatever form it takes, is beautiful and perfect for you.”

hair, alopecia, those transitioning, and those experiencing

hair loss due to a number of treatments. Ratajkowski exemplifies the view of long hair being set as the baseline of beauty for all women. It makes sense that anything other than long hair would be coded as queer, political, or antinormative. A Vice article written by Charlotte Gush explains why this is the case. Gush states: “An inherently discriminatory concept, femininity privileges those who are young, slim, Caucasian, healthy, wealthy, and able-bodied, with long hair and little to no body hair. It is a sexist, heteronormative, racist, ageist, sizeist and ableist concept, based on how ‘fuckable’ women are judged to be by a society and culture that foregrounds the desires of men, and white men in particular.” According to the Science Focus, evolutionary psychology has found that men find long hair to be a sign of health and abundant fertility, and are more attracted to them as a result. Hair, therefore, becomes another way that women are able to satisfy the male gaze. The standard for hair is set and maintained by straight men. This is exemplified by the violent, hateful reaction to Selpide’s shaved hair. Vice writer, Gush, maintains her point about femininity through hair by also stating, “Those judged less fuckable, less ‘feminine’ -- because they are old, fat, differently-abled, ill, poor, LGBTQ, or black (as this Tinder analysis shows) -- are often discriminated against, and even dehumanised, as the horrendous rate of violence faced by transgender women, and trans women of colour in particular, shows.”

F L A S H M AG A Z I N E

Since 2019, Grande’s song “7 Rings” skyrocketed in popularity. In this song, she states, “You like my hair? Gee, thanks, just bought it.” Grande glamorizes the use of weaves as an expenditure and is praised for it. Meanwhile, Black women are accused of being artificial, or ‘tricking men’ for using any hair enhancements. There is a double bind that women of color, specifically Black women, are caught in. They are told their natural hair isn’t good enough, or isn’t beautiful as it is because they are expected to meet the white standard of long straight hair. When they use weaves/wigs to try and meet this eurocentric ideal, they are torn down for being dishonest, while white women are accepted and praised for doing the same. This feminine ideal is clearly rooted in the idea of the white

This hair discrimination is built into the very exclusive concept

straight femme. Hair that is anything other than femme is

of feminity that women’s hair is held to. Women of all ages are

considered queer or against heternormative standards,

held to this imposed standard of eurocentric white beauty and

which positions femme as the best. There is a struggle that

are judged harshly for not meeting it.

women have to face against their aggressively gendered bodies.

The sexism that invades our consciousness

As a mixed woman, I already have inherent hair privilege

disconnects us from our own bodies; we have to fight

built into my genes. I get my naturally straight hair from

against the mentality that shames hair expression outside

my white father and the intense natural black coloring from

of the conventional white standard.

my Asian mother. As someone who hasn’t had to put much thought into my hair, I’m beginning to understand my own

Women of color, especially Black women, are often crucified

hair privilege. When my older aunts have reminded me that

for not meeting the ideal hair standard while white women

it will be ‘easier’ to attract a man with long naturally-colored

such as Ariana Grande receive praise for appropriating

hair, I have easily brushed them off to dye my hair a putrid

their hair. Grande herself has a history is full of hair

green for my own enjoyment. My natural straight black hair

drama. At first, Grande got backlash for keeping the same

seems to fit into the textbook definition of the “white femme

slick ponytail throughout her career. Female artists are

norm” but is also fetizished as the pin-straight hair of an Asian

expected to reinvent themselves, establish eras of looks

American woman. Again, my hair is only accepted because of

that correspond with their music. Grande defended her hair.

white men’s desire, rooted in a fixated obsession with women

Having dyed it heavily for all her seasons in Victorious, her

of color. This conversation of hair assumptions and inherent

hair was heavily damaged. She felt the most comfortable

femininity is riddled with complicated intersectionality of

and confident in her ponytail. Again, trolls mocked her look

hair, and I couldn’t fathom covering everything in its entirety

for years, demonstrating that women’s hair is constantly

in a single article. However, I would like to remind every

being monitored and critiqued. Eventually, Grande’s silky

woman who reads this that your hair, whatever form it takes,

high-enough-to-reach-the- clouds ponytail became her

is beautiful and perfect for you. Don’t let the patriarchal and

signature and revered as a symbol of her beauty.

racialized standard control your self-expression.

BEAUTY

N O. 1 5

spotlight on:

@ellessentially_ I had the pleasure of speaking to my friend, Elle Lee, about her budding beauty account, @ellessentially_, and her take on beauty on Instagram. Elle started @ellessentially_ in 2019, and has come a long way in just a year. Her account is filled with stunning images (many of which are featured here), honest reviews, and thoughtful musings on the beauty industry. I learned more about Elle and her experience as part of the Instagram beauty community in our conversation.

Interview by: Celia Patterson Words and images by: Elle Lee

F L A S H M AG A Z I N E

What inspired you to make @ellessentially_? Believe it or not, I have to give credit to this makeup panning account (@sammiepansmakeup) that I had silently followed for about a year before. I had always followed a few of my favorite makeup brands on insta, but this smaller account was

“When I...started my account, I began with that foundation of trying to take account of and appreciate what I owned.”

my real introduction to the Instagram beauty community. For anyone unfamiliar, “panning” is a term used for when people are actively setting goals or projects to use up items in their collection. It has some beautiful ties to sustainability and general conscious consumerism, but on the surface level it’s simply people talking about their beauty products and showing the entire life cycle that begins after you finally make the purchase. When I finally started my account, I began with that foundation of trying to take account of and appreciate what I owned. Over the past year, it’s since grown beyond the bounds of just panning content, but that core message of practicality and appreciation has stuck with me. How would you describe your content? How much space do we have for adjectives here? Honest, bright, simple, colorful, juicy. Sunlit, almost as a rule. Lots of close-ups and textures. And then my stories are filled with personal dumb fun. It’s honestly much easier if you just check it out. How is this account different from other beauty accounts? I think it’s very… me?

That’s a lame answer, but I try to

incorporate my personality into my account as much as possible. The easiest answer would be my content, though. I think it stands out a lot with the signature white background and bright, clear colors. It took a couple of months to find the aesthetic I’m at currently, but it suits me. It’s straight up and just lets the products speak for themselves- visually, at least, because I do speak on them quite a bit. That’s the other thing. I like to keep it real with people, from negative experiences with products to navigating PR as a nano-influencer account.

B E AU T Y

N O. 1 5

Beauty, to me, is a celebratory word. It’s an acknowledgement that we are alive and that is… beautiful.

What are your goals that you want to accomplish with your

Your all-time favorite product?

account?

This is such a tough one. I’ve completely fallen in love with

This one changes a lot. It’s been less than a year since

cream blushes and there are so many I could shout out. But

I started and at first it was just for me, like a diary of my

if my entire collection disappeared, the first thing added to my

products. I guess it’s still a bit of a diary but for a much

cart would be Glow Recipe’s Watermelon Glow Lip Pop. $22

larger audience. Recently I had a moment where I realized,

for this little lip balm that absolutely owns my soul. It smells

“Oh… I might actually be able to do Something with this.” My

just like those watermelon gummies, leaves the prettiest pink

main goal is to keep creating better, more interesting photos.

tint on your lips, and most importantly has AHAs to actually

But who knows where this could go in the future. I’d love to

improve your lips. I suffer from the dryest, flakiest lips and

actually work with brands as a photographer on campaigns.

this is the first and only lip balm that has brought them back

I want to see if this can actually become a gig for me, since

to the land of the living.

I could spend all day every day taking and editing these photos. I also always love seeing people taking new types

What is your favorite thing about the Instagram beauty

of photos and experimenting with their style, so I hope I can

community?

inspire that too. I definitely have to start goal setting more,

The kindness. And the passion. I have met some of the

I’ve grown so much in the past two or three months that I’m

loveliest most supportive people through my account. We all

still processing that brands actually want to work with me.

just want to see each other do well. You know the trope of comments girls leave on their friends’ posts? It’s like that to

Your current favorite product?

the max. We all just hype eachother up, share tips, etc. It’s all

Definitely my Glisten Cosmetics split wet liners (I recently

very wholesome.

picked up the UV bundle of six colors). They’re these little pots with two water-activated shades in them and they are seriously so. much. fun. They’re quite pigmented and you can mix them together to create nearly any color. I’ve been into graphic eyeliner looks for a while, but these make doing them a thousand times easier and much more vibrant/ customizable. It just feels like playtime with a new toy- I get so excited to doodle on my eyes each morning.

F L A S H M AG A Z I N E

What do you think needs to change about the Instagram beauty community? Definitely that Monolith Of Beauty idea. I hate that. Let people do what they want!! Let people take pride in their features and the fact no one looks the same! I’m so glad we’re starting to see the “If you have acne, you need to layer on the full coverage. If you have a fuller face you need to contour” trends die off. I can’t wait for more experimental, expressive makeup to become commonplace. As much as it makes me laugh and think of The Capitol in The Hunger Games, I think seeing makeup become more ornamental and “for the fun of it” would be great. The Instagram beauty community also really needs to work on addressing racism and allyship. This summer we saw a lot of progress, but a big part of that was primarily preformative (I’m directly @-ing every brand that posted “support” and never said a peep again). Some brands were

What does beauty mean to you?

called out, some brands were “cancelled.” We need to be

“Beauty” is everywhere. There is beauty in the ordinary, there

better at supporting and crediting BIPOC, especially Black,

is beauty in simply Being. Beauty is not a singular goal, but

creators. It’s something I definitely grapple with too; how do

an expression extended towards so many parts of life— every

you deal with huge brands that still, in the year of our lord

little thing can be beauty. I like the concept of wabi-sabi; it

2020, refuse to release deep shades? Is calling them out on

goes beyond accepting imperfection, it celebrates it as a

it enough? Is boycotting their brand enough? Do they even

profound result of existence. The little creases your face

care so long as some people buy their products anyway?

makes is beauty. The imperfect line you draw is beauty. The

Then that’s a slippery slope to “there’s simply no ethical

small folds in a cream is beauty. Anything that contains joy

consumerism” since there’s only so many parent companies.

contains beauty, but beauty extends far past joy. Beauty, to

I think just continually speaking up helps. Speak up to

me, is a celebratory word. It’s an acknowledgement that we

support BIPOC creators that don’t get their dues, speak up

are alive and that is… beautiful.

when brands misstep so those who “vote with their dollar” can, speak up when brands get it right, speak up when you find Black-owned brands you can support instead. Mostly, I just try to listen. And stop making appropriative trends! That “fox eye” pull?? Get outta here.

“Beauty is not a singular goal, but an expression extended towards so many parts of life— every little thing can be beauty.” BEAUTY

N O. 1 5

Makeup Gets Ugly Words by: Celia Patterson Images by: @uglymakeuprevolution

Why does makeup need to be aesthetically pleasing? Here’s the thing, it doesn’t. A growing online movement is that of “Ugly Makeup.” Instagram accounts like @ uglymakeuprevolution,

@makeupbrutalism,

and

radioactive.pigeon are pioneering a new style of makeup, one that does not focus on the conventionally beautiful but on the experimental and, yes, the ugly. These accounts prioritize creativity and individuality in makeup, moving beyond the traditional style to something new and exciting. This new style of ugly makeup can take many forms. Statement words, optical illusions, and messy abstractions pattern the feed of @uglymakeuprevolution. One look appears to be the result of an explosion of pink paint that

The handle of one account making waves within the ugly makeup community provides an interesting alternative title for this movement: @makeupbrutalism connects this new style of makeup to the architectural style of brutalism. In the same way that architectural brutalism features raw materials and exposed interiors in buildings, makeup brutalism places emphasis on the texture of products and the naked skin. Pictures display bare skin surrounding an eye covered in Jello and lips lined with glue. Eszter Magyar, who runs both this account and @uglymakeuprevolution, calls her style “controversial, conceptual and raw.” It is this controversy that has allowed both her account and the ugly makeup movement to grow.

landed on the model’s face. Another features a painstakingly detailed painting of a can of spam over a face. Ugly makeup cannot be defined exactly. It will almost always surprise you. The style is characterized by new techniques, like the eyeliner-soaked irises of @makeupbrutalism, new materials, like the clementine eyelashes of @radioactive.pigeon, and new ideas, like the idea that makeup no longer needs to be beautiful.

BEAUTY

F L A S H M AG A Z I N E The controversy stems from the fact that makeup is

Ugly makeup seeks to create something different, highlighting

generally thought to be the antithesis of what we define as

innovation and variety. You will never see two of the same

“ugly.” Most people use makeup to enhance their beauty.

looks on @uglymakeuprevolution, @radioactive.pigeon, or

They make their brows thicker, their lips bigger, and noses

@makeupbrutalism. Each post will surprise with its ability

thinner. Of course, the uses of makeup are constantly

to be somehow completely different than the one before.

changing. Facial features, much like fashion, go in and out of

These accounts provide a platform to bring different types of

style and makeup trends have to keep up with the ideal as it

beauty into the spotlight and to exemplify the way in which

continuously transforms. Enter ugly makeup. Ugly makeup

something does not have to be beautiful to be seen. Originality

rejects these norms and seeks to encourage the subversion

and subversion are king in the ugly makeup community,

of the ideal. In a discussion of @makeupbrutalism’s impact

allowing artists who do not conform to the Instagram ideal to

on Instagram, Giulia Ronchi writes for domus, “Much more

find success on the platform.

than a provocation, [these] page[s] [are] a political manifesto, an act of resistance against the beauty industry that wants

As community member @maretubaleht wrote, “I think

us eternal and superhuman.”

Uglymakeuprevolution...play[s]

role

the

larger

democratization of beauty. Beauty, especially individual When Instagram feeds are filled with perfectly curated,

presentations of it, is becoming more creative. Eyeshadow

imperfection-free pictures, it can be refreshing to see

is not just for eyes, lipstick is not just for lips, and rules are

something different. As Magyar says, “Our society is

not to be followed. And, in my opinion, the larger consumer

obsessed with perfection and youth, and I’m going against

base is slowly becoming more accept[ing of]...different forms

that.” Ugly makeup is also part of a larger anti-aesthetic

of beauty-representation.” Makeup no longer needs to fit the

movement on Instagram that seeks to uproot the polished

mold. You can do whatever you want to your face. If you

looWk associated with the platform. This polished look

want to contour and highlight, then do it. If you want to put

often permeates the popular culture of Instagram, as many

clementines on your eyelids, do it. There is no one right way

influencers emulate each other and seek to ascribe to an

to wear makeup. As long as you’re having fun, you’re doing it

idealized, uniform image. They get their lips filled, hold their

right.

mini Jacquemus bags, and contour their faces to the gods. There is nothing wrong with the influencer’s image, but the anti-aesthetic and ugly makeup movements take issue with the way in which this ideal is privileged, encouraging the homogenization of Instagram culture.

"Originality and subversion are king in the ugly makeup community" 55

NO. 15

Naturally Glowing: Redefine Your Skincare Routine Words by: Isabella Sottile Illustrations by: Ruby Lee

Understanding the broad negative impacts the skincare industry The popularity of natural beauty has reached new

can have, it is time to redefine how we care for our skin through

heights over the past few years, especially within the realm of

the manufacturing processes, ingredients, and products we

skincare—for good reason too. Natural products have obvious

choose to support. But where to start? The FDA does not reg-

benefits over non-natural beauty products for our skin, but it is

ulate terms like “natural,” “organic,” or “clean.” That means that

necessary that we realize how these non-natural beauty prod-

companies can label their products as organic if they have even

ucts can cause great harm to our environment. The manufactur-

a few organic ingredients mixed in with the bad ingredients be-

ing processes, ingredients, and packaging of skincare products

cause they want to market their products to the consumer seek-

affect our environment more than one might understand at first

ing organic or natural skincare without doing much research. In

glance.

reality, many of these products labeled as natural still contain

As conscious skincare consumers, we must educate ourselves

harmful chemicals.

on the negative impacts that the products we frequently pur-

Fortunately, lots of companies do produce wholly natural and

chase have on our environment. For example, when the toxic

organic skincare products. It is all a matter of reading every in-

chemicals used in some skincare products are washed down

gredient in the product you are purchasing. A beauty compa-

our drains, they find their way into our ecosystem through the

ny called Follain sells a curated collection of some of the best

ocean. These toxins are first harmful to aquatic species, and

clean skincare products on the market. In addition, while selling

second, harmful to us when we consume any of these aquatic

products of multiple brands on their site, they also craft and cre-

species. Many facial cleansers sold on the market today con-

ate their own natural products. With a site that can be trusted to

tain plastic microbeads which do not break down naturally.

carry truly organic beauty products, it can be easier to find the

These harmful pieces of waste which collect pollutants as they

perfect products for naturally glowing skin. Here are a few of

sit in the ocean are consumed by marine life, causing suffoca-

their most popular products.

tion, stunted growth, buildup in their digestive tracts, and often death. However, it is not just the plastic beads that are at fault—skincare ingredients such as oxybenzone and octinoxate which are found in many sunscreens, as well as an antibacterial and antimicrobial ingredient called triclosan contained in some soaps,

Indie Lee’s COQ-10 Toner is made to moisturize and remove excess oil with hyaluronic acid and aloe vera.

toothpastes, and deodorants are not broken down by water waste treatment plants and pollute our oceans. These ingredients, called endocrine disruptors, negatively affect hormone levels in marine life as well as humans. As for packaging issues, almost all skincare and beauty products are unfortunately sold in single-use plastics, adding unnecessary plastic waste to our environment. This plastic waste also harms and kills aquatic species through entrapment or ingestion.

Jade rollers are used to promote lymphatic drainage and decrease puffiness around the eye area, and Mount Lai makes The Mini Jade Facial Roller which is both convenient in size and effective.

FLASH MAGAZINE

Osmia’s Black Clay Facial Soap is made for all skin types to be acne-clearing and calming with a combination of Black Australian Clay, almond, avocado, and castor bean oils to cleanse your skin without causing irritation.

Reading the labels of your products to understand what makes it truly organic or natural is the only way to fully implement

Orgaid’s Vitamin C & Revitalizing Organic Sheet Mask pairs Vitamin C, hyaluronic acid, orange peel, and pomegranate to rejuvenate and boost collagen.

an organic beauty regimen with store bought products. While these products are often pricey, the quality of natural ingredients makes them more worthwhile. However, keep in mind that these products still utilize single-use plastics in their packaging. Alternatively, to prevent unnecessary waste, consider making your own beauty products—crafting your own products at home with nontoxic ingredients is a great way to redefine your skincare routine to be wholly organic and environmentally friendly. You can also control the quantities you make at one time, decreasing your wastefulness by avoiding having to throw out expired products you were not able to finish.

Osea’s Ocean Cleanser made with organic seaweed removes excess dirt and oil, but leaves the natural pH balance of your skin intact.

Homemade skincare products are made using ingredients such as oils, butters, waxes, and essential oils. Some of the most popular are argan oil for vitamin E and improving skin elasticity, jojoba oil for its cleansing abilities and anti-inflammatory properties, shea butter for intense moisturization, and beeswax and tea tree essential oil to treat inflammation. Other great ingredients are aloe vera for incredible moisturization properties, castile soap as a gentle and effective cleanser, and raw honey with its antibacterial and moisturizing abilities. These are just a few of the ingredients available to us as conscious skincare consumers, and with careful research, you can create organic skincare that is suited to your unique skin type. Our current environmental crisis necessitates that we all seek

Weleda’s Skin Food Light Nourishing Cream nourishes your skin with a plant blend of chamomile, calendula, and pansy.

to live more sustainable lifestyles, and that affects every aspect of our lives, including our skincare. Making sure the ingredients you put on your skin are safe and nontoxic is vital for naturally healthy and glowing skin today and later in life. By transitioning to an organic skincare routine, you can care for the future of your skin and the future of our environment.

BEAUTY

NO. 15

V I S UA L S B Y: C E L I A PAT T E R S O N

OPINIONS

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OPINIONS unfo ld

ginghome NO. 15

ginghome

ginghome ginghome ging-

Words by: By Liyara Cooray

Eco-friendly Homeware Marketplace

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Ging-home is an upcoming eco-friendly homeware brand

The name “ging-home” takes inspiration from a lovely fabric called

based in Sri Lanka. We are a brand aimed at providing our custom-

“gingham,” which is often used as the typical picnic blanket. I

er base with carefully curated, high-quality eco-friendly homeware

created this brand during quarantine in the course of which we

products. We would provide everything from reusable grocery

had an island-wide curfew in Sri Lanka for close to two months.

bags to bamboo toothbrushes and other essential cleaning sup-

I made a conscious effort to make sure I did something I enjoyed

plies and daily-use products. Sri Lanka is abundant and practically

as often as I could, and for me, with the availability of limited re-

oozing with natural resources waiting to be made use of.

sources, I managed to gather what I could to have a mini picnic on my rooftop. I have always adored the idea of picnics and their

Unfortunately, Sri Lanka partially lost many of its cultural roots

ability to bring people together in a simple and effortless way. It

when we were colonized in 1505, so we have strayed away and

was a low cost but effective way of keeping my mind and senses

gotten lost in the seam, on our way toward a more westernized cul-

in check without having to leave the house or meet anyone. This

ture. Our original roots were more in-line with nature; Sri Lankans

is where the idea for ging-home came; I wanted to provide people

made use of the natural elements around us such as cane for bas-

with effortlessly minimal, daily use products that were sustainable

kets and other storage containers, coconut husks for everything

but also affordable. I believe that switching to more sustainable

from brooms to washing scrubs, coconut shells made into cooking

alternatives that are used in our daily lives could have a significant

utensils, the list goes on. Over the years, the country has carelessly

positive impact on the environment. It is our plastic toothbrushes

switched to single-use plastic and other environmentally harmful

and disposable water bottles that end up washing up on the shores

materials due to their convenience and mass production capabili-

of our beaches and inefficiently disintegrating into the floors of

ties. This is the case in most countries across the world, so I hope

our forests. Small changes in our lifestyle can go a long way, and

to make use of naturally-made alternatives of daily-use products

with ging-home, I hope to provide consumers with everything they

and make them available to the global market. There is no doubt

may need to make a smooth transition to a more environmentally

that Sri Lankans and many other countries have both reaped ben-

conscious lifestyle.

efits and also been disadvantaged by colonization, but I do think there is a ton of potential in reviving some of the lost links to our

Stay tuned for our official launch date and be sure to check us out

roots due to its positive impact on the environment, which we are

on our website and on Instagram.

in dire need of, at the moment, due to climate change. I believe that this start-up brand is a way of doing my part for both the environment as a whole and the people of my community. I think that many small steps in the right direction can create sizable change.

WEBSITE: w w w. n a t ro p i c a l . c o m / g i n g h o m e

INSTAGRAM: @ging.home

OPINIONS

NO. 15

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NO. 15

Big Businesses and Major Politicians are Killing Our Planet : What Can We Do? “The eyes of all future generations are upon you. And if you choose to fail us, I say﹣ we will never forgive you.” -Greta Thunberg at the UN Climate Summit NY, 23 September 2019 Rising seas, melting glaciers, inexplicable weather, global warming- the climate crisis is among us and the threat it holds grows daily. In 2015, the United States joined the Paris Agreement along with 195 other countries in the U.N., where they agreed to

Thunberg’s words hit the hearts of Millennials and Gen-

eration Z especially hard given the impending doom of irreversible climate change they were forced to grow up watching. The damage, largely caused by the generations before them, places

mitigate greenhouse gas emissions, adaptation, and finance.

a wearying weight onto their shoulders to salvage the world for

On June 1, 2017, within his first one hundred

After her speech, Trump ran to Twitter as per-usual and

Three months later in December, Thunberg was granted

future generations.

days in office, Donald Trump announced that the U.S. would be leaving the ParisAgreement. Instead of acknowledging climate change as a global crisis along with the rest of the U.N., this act from Trump along with many other remarks he has made regarding our environment has turned the U.S. into an international spectacle as we continue to ignore cautions from scientists. For example, in early November 2020 Trump threatened to fire Dr. Fauci, who has advised six presidents on global health issues and has been the lead voice in advising the American public on the true nature of the COVID-19 pandemic. Two years after pulling out announcing America would be leaving the Paris Agreement in September of 2019, Swedish teenage climate activist Greta Thunberg was asked to make a speech in front of the U.N. and Congress. She spoke eloquently and with purpose, drilling her message into the politicians in front of her as she spoke. “I should be back at school on the other side of the ocean. Yet, you all come to us young people for hope,” she said. “How dare you? You have stolen my dreams and my childhood with your empty words.”“I should be back at school on the other side of the ocean. Yet, you all come to us young people for hope,” she said. “How dare you? You have stolen my dreams and my childhood with your empty words.”

Time Magazine’s Person of the Year award. Again, the President of the United States slandered the young girl on Twitter.

FLASH MAGAZINE The choices we make on a daily basis are still important, but we can no longer pretend that separating our paper and plasHow are we, as a country, supposed to even attempt reversing the damage we have caused to our planet? How do we know where to even begin doing so when our own leader doesn’t even believe in climate change’s existence and would rather spend his time bullying a teenager online than making positive change

tics from our trash or using a reusable straw in our iced coffees are what will salvage the planet for our children and grandchildren﹣ the small, environmentally conscious choices we make in our day-to-day lives are not making the positive impact that we think they are, and we need to turn that around.

for the citizens he is meant to be serving?

We can reverse this destruction by holding these firms account-

We never got the chance to have the childlike innocence we

allow these companies to go on as they are, our planet’s death

were promised, because in the digital age the world’s problems

date will draw nearer and we will be left with an apocalyptic

are thrust into our faces without hesitation or warning.

world: scarce food, unlivable climates, lack of plant life, and ter-

able and demanding the same of our leaders. If we continue to

This responsibility we have felt our whole life to fix the world

rible air quality.

was made physical this past September, with an installation of

In a world of seven and a half billion people, our voices togeth-

an ominous clock perched in Manhattan’s Union Square which

er will always resonate more than if they are divided, and we

counted down the time remaining until we are faced with irre-

should all be demanding together that these institutions con-

versible climate disaster. With the creation of this doomsday

vert to renewable energy in order to save our planet.

countdown, we are left feeling anxious and asking where we can start to help save our home.

One of the most vital ways that we can make a difference in

In recent years, there has been a surge of sustainable living be-

responsible for creating policy on climate within our own nation

coming ‘trendy:’ from reusable water bottles, straws, and gro-

and with others internationally, we are responsible for deciding

cery bags, to the bans on plastic, and growing popularity of

who does. It is crucial that we vote for candidates who support

electric vehicles.

or have comprehensible climate policies, and especially one

America is by using our vote. Though the average person is not

According to an analysis by Richard Heele at the Climate ccountability Institute in the US, there are 20 companies that have contributed to 35% of global carbon emissions since 1965, and just 100 companies have contributed to 71% of these emis-

who believes that climate change exists in the first place. We can use our voices to protest peacefully, contact our legislators, and most importantly ensure that we elect leaders who will help us save our planet.

sions.

The results of upcoming elections are crucial in a multitude of

In short, seven and a half billion people will pay the price of a

ways, but they will also determine the future of our planet. Or if

destroyed planet just so the rich can get richer.

our planet will have a future at all.

As scary as those numbers are, we can keep carrying on making fine choices in our day to day lives and hope it makes an impact,

eyes.

EN PLA

a difference and investing in the future, but we must open our

RE G T

a task that made us all feel good, like we were actually making

REEN PLA

N OPINIONS

into landfills, burned, or even stockpiled. Recycling was always

REEN P LA

recycle is no longer being accepted, and are instead dropped

ET G

Recent investigations found that the majority of the plastic we

right? Unfortunately, that is no longer enough.

GREE N

Words by: Sydney Champagne Graphics by: Christiana Im

NO. 15

A long-lasting wardrobe: How the events of 2020 will change fast-fashion Words by: Marissa Lambert

In times of chaos and uncertainty, we crave simple

things that offer a sense of familiarity. Our world slows down, and we are reminded of the importance of certain

Basics will be favored over trends First, a downturned economy means more saving and less

values: being there for our friends and family, supporting

spending, and ultra-consumerism will be put on hold while

our communities, and celebrating the hard work of those

the population navigates the economic perils of an ongoing pan-

who fight to protect us. Even if for a short period, we shed

demic. Even if Americans become more liberal with their spend-

our individualistic tendencies and mold into a collectivist

ing, they will be making smarter choices. Quality sweaters will be

society. This holds true today just as it did during previous

chosen over cheaply-made, frilly blouses, and a robust pair of dark-

times of hardship in America, including wars and wide-

wash jeans will be chosen over a pair of checkered pants: “Less

spread financial crises. Periods of economic hardship bring

disposable income means less money to throw away on clothing

humility and modesty to the forefront of society, while loud,

each season, and priority will go to clothes that will be fashion-

boastful expressions of wealth and privilege fall to the

able longer than a couple of months,” says Allison Pfingst, advisor

wayside.

of the Fashion Studies department at Fordham. The name of the

In the midst of the pandemic, fashion is no different.

game will be “investment pieces”, and consumers will be thinking about the long-term utility of their purchases moving forward.

Just as American consumerism changed following the crises of the 1900s, Covid-19 has drastically changed our spending habits. Now, a majority of our purchases are made online rather than in-store, we order take-out or eat in instead of dining at our favorite restaurants, and the only way to view entertainment is through our TV screens. It’s a

Fashion will become more subtle and less flashy It is not that fashion-forward pieces will be looked down upon, but they will be seen as unnecessary. When a majority of

no-frills marketplace for the time being, whether by choice

Americans are focused on wellness, mental health, and being there

or by force.

for their loved ones, being flashy with your money feels at best, silly,

Unsurprisingly, these changes have found their way into

and at worst, insensitive. Looking to the future, Natalie Nudell, a fash-

the present-day clothing industry—an industry dominated by fast-fashion. With nowhere to go, there’s little demand for new, seasonal pieces. If past trends of simplicity are any indication of the future, consumers will soon turn away from trendy, short-term designs, and embrace long-lasting

ion and textile historian at the Fashion Institute of Technology, predicts that “We’ll see cultural mores about displaying wealth or status change when so many people are out of work.” Further, minimalist styles are likely to see a surge, just as they did in 2008: “Minimalism was also a hallmark of the clothing that came out of the Recession.

wardrobe staples.

Everlane pushed elevated basics, like simple T-shirts and navy sweat-

Here’s a look at how the fashion landscape will likely

go for the foreseeable future (besides the occasional outdoor brunch),

change, based on historical trends of spending and consumer habits during a time of global upheaval.

ers,” reports Vox. Coupled with the fact that there will be few places to buying a statement piece can seem futile. Sure, that red velvet jumper might be the perfect outfit for your annual Christmas party, but it will not do you any good sitting in the back of your closet until next year. If anything, 2020 has been helpful for bringing us back to our roots and

reminding us that “less is more,” even in fashion.

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More purchases will be made at a community level with an emphasis on supporting BIPOC businesses

Moving forward

Aside from economic changes, the fashion landscape will

that prompted major industry changes throughout the

Reflecting on recent world events, in addition to the events

likely benefit from the effects of activism. The summer of 2020

1900s, there is a common theme: mindfulness.

awakened younger generations to the impact of their daily choices

Social upheaval makes us forget about the minutiae of ev-

and how their purchasing power can be used to better their com-

eryday life, like having the pair of boots that everyone seems

munities. The events of this past summer also put an emphasis

to have. Instead, it forces us to think in a broader sense and

on supporting Black-owned businesses, as interest in Black-owned

paint in abstract strokes—strokes of how we want to save

shops and restaurants on Yelp increased in June and July by

our one and only planet, support the people in our commu-

7,000% when compared to the same time last year. Further, people

nities, and ease the plight of workers thousands of miles

were forced to turn their attention to the environment as wildfires

away. Changes are happening, and we can continue the

ravaged the West Coast and turned the sky orange. Millennials and

momentum by shopping locally, seeking out Black-owned

Gen Z, the two biggest supporters of fast-fashion, are now thinking

businesses to support, and adding more environmentally

about the bigger picture—making smarter consumer choices in

friendly pieces to our wardrobe. A sense of responsibility

order to support the causes they believe in.

arises in times like these, and luckily for us, moving towards sustainable fashion is an easy, yet giant step forward.

Natural materials like cotton and linen will become more popular Through educating ourselves, we are now aware that

inexpensive, stylish clothing comes at the expense of garment workers and the environment. The often terrible offshore working conditions faced by garment workers has only been made worse by the pressure to move a design from the sketchpad to the store in as little as three weeks. Also, the constant churning out of trends means factories are working around the clock, dumping carbon emissions into the atmosphere at an unprecedented rate. Reliance on polyester and other synthetic fibers to keep costs low has only exacerbated environmental damage, as polyester is not biodegradable. It actually requires more energy to produce than other long-lasting fabrics like cotton, and emits thousands of microplastics into the air and water when washed. Fast-fashion is one of the worst offenders in creating microplastic pollution, and it’s seeping into our oceans and harming our marine life. However, consumers are taking notice, and a shift towards sustainability— coupled with the foreseeable rise in minimalism—will likely bring about a return to natural fabrics like cotton and linen: “Simple sheath dresses, tees, wide-leg pants, and humble jeans in rustic fabrics like linen and cotton have so far been popular only with a certain subset of minimalist, sustainable influencers. But you’ll probably start seeing them even on the most high-end influencers soon,” says Nudell.

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NO. 15

The Gentrification of Words by: Thrift Marissa Lambert Shopping Graphics by: Ruby Lee

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Fashion is constantly evolving, but this evolution goes beyond

the clothes we wear. As consumers have grown more aware of the environmental effects of producing clothes, they have leaned towards sustainable fashion, especially in the form of thrifting. In recent years, thrift stores have skyrocketed in popularity. Not only are physical stores like Goodwill seeing a rise in customers, but online resale apps like thredUP and Poshmark are seeing a rise in users as well (Fortune). In many ways, the growing popularity of thrift stores is a step in the right direction for the clothing industry—an industry plagued with issues like high levels of pollution and dangerous factory conditions for workers. It also counteracts the detrimental effects of fast fashion, allowing consumers to stay on trend without heading to ZARA every few weeks. However, this new fascination for thrifting is not without its downsides. This newfound trend poses problems for lower income families and individuals who rely on second-hand stores to find button-downs and blouses for their job interviews, or to simply feel confident in on-trend clothes. While affluent members of Gen Y and Gen Z turn to consignment shops to further

The gentrification of thrift stores has drastically driven up prices,

build their wardrobes, others turn to these stores out of necessity. With

with some pieces selling at or above retail value. On sites like Depop,

every additional person scouring the racks for a vintage piece, there are

items from popular brands are quickly bought by resellers who put

fewer styles and sizes available for those who rely on these stores to get

them back on the market at a steep price to turn a profit. Essentially,

by. Worse, however, are the soaring prices.

modern, on-trend pieces that used to sell for $5 are now selling for $35, making it increasingly difficult for shoppers to find quality items at a low cost. Over the next few years, the resale market is expected to grow even more. ThredUP’s 2020 Resale Report projects that within the next 5 years, the industry will hit $64 billion. In fact, 2019 saw the resale industry grow 25 times faster than the retail industry. The ongoing effects of the pandemic are also expected to maintain the resale sector’s growth over the coming years as the economy heals. It is clear that thrifting is here to stay, but unless we find a way to control the market and even out the playing field, second-hand shopping could end up doing more harm than good. It is up to us to shop responsibly, which means limiting our time at thrift stores and paying more when we can afford to do so—because every member of our community deserves to feel good in the clothes they wear, at a price they can afford.

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NO. 15

PHOTOS BY: DEVIN LYON MODELED BY: TIERAN HORTON, MICAELINA CARTER, JEREMIAH MOOREHEAD STYLING BY: DEVIN LYON CREATIVE DIRECTION: DEVIN LYON

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credits Culture The case for feeling it all Layout Designer: Bawila Idris

Hello my name is? Layout Designer: Christiana Im

Imprisoned in Beauty: The Magnetism of Liza Louâ&#x20AC;&#x2122;s Impractical Kitchen Layout Designer: katie schulte

Art Beyond the Canvas Layout Designer: Ruby Lee

Fashion The Show goes on Layout Designer: Christiana Im

What Does it Mean to be a Savage Layout Designer: Trey Sullivan Images taken from: Savage x Fenty Show 2020

The Ugly Side: How the Pandemic Has Revealed Systemic Inequality Within the Fashion Industry Layout Designer: Bawila Idris Receipt Illustration by: Nadine Gerber

Beauty Femininity Through My Hair Layout Designer: Celia Patterson

@ellessentially_ feature Layout Designer: Celia Patterson

Ugly Makeup

Layout Designer: Celia Patterson Image top left / bottom right sourced: @sugaronyoursouls Image bottom middle sourced: @eszterdomonkosmua Image bottom right sourced: @maretubalwht

Naturally Glowing: Redefining Your Skincare Routine Layout Designer: Ruby Lee

Opinions Ging Home Start up Layout Designer: Bawila Idris

Big Business and Major Politicians are Killing Our Planet: What Can We Do? Layout Designer: Christiana Im

Albeck-ripka, Livia. “Your Recycling Gets Recycled, Right? Maybe, or Maybe Not.” The New York Times, The New York Times, 29 May 2018, www.nytimes.com/2018/05/29/climate/recycling-landfills-plastic-papers.html. Whitcomb, Isobel. “How Much Plastic Actually Gets Recycled?” LiveScience, Purch, 7 Mar. 2020, www.livescience.com/ how-much-plastic-recycling.html. “Anthony S. Fauci, M.D., NIAID Director.” National Institute of Allergy and Infectious Diseases, U.S. Department of Health and Human Services, www.niaid.nih.gov/about/director.

A long-lasting wardrobe: How the events of 2020 will change fast-fashion Layout Designer: Bawila Idris

Gentrification of thrift stores Layout Designer: Ruby Lee

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