Glaze Spring 2021 Vol. IV: Opulence by glazezine

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VOL. IV

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SPRING 2021

GLAZE

Glaze is an Austin based creative community that seeks to celebrate self-expression in every form. See more at www.glaze.community

I may say this every volume, but every volume it’s true––this is our biggest and best magazine yet. Opulence was chosen as the theme because of its proximity to the Rococo art movement, but more than that, it represents the glitz and glamour we were deprived of during 2020. After another several months of sitting at home all day, wearing sweatpants, and having very little to celebrate, it feels good to pretend (even if for a

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photoshoot) that we’re living a life of opulence. Our creative team was presented with this theme in the broadest sense possible, because we wanted to include the dark side of opulence. All that glitters is not gold, and opulence can also represent frivolity, materialism, waste, and overabundance. As you flip through Glaze Zine Vol. IV, I hope you feel the same love and adoration I do for this incredible team’s talent. Pour yourself a glass of champagne, fasten your pearl necklace, and indulge in Volume IV, OPULENCE.

Tara Bhikha Creative Director

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ZINE Tara Bhikha........................................Creative Director Mariam Ali.........................................Asst.Creative Director, HMUA Director Skyler Burk........................................Editorial Director, HMUA Director Aleigh Gerron...................................Asst. HMUA Director Beck Preciado...................................Modeling Director Giovanna Cervantes.........................Modeling Director Kalee Sue Gore.................................Asst. Modeling Director Payton Wyatt....................................Photography Director Jason Tran.........................................Photography Director Joyce Kabwe....................................Styling Director David Garcia.....................................Styling Director Lauren Johnson................................Layout Director G. Meridian Raulinaitis.....................Asst. Layout Director Francisco Rivera...............................Art History Director Montserrat Hernandez....................Art History Director Cat Cardenas....................................Writing Director Isabella Martinez..............................Asst. Writing Director Jane Lee............................................Marketing Director McKenzie Fisher...............................Asst. Marketing Director Anna Strother...................................Community Connection Director Mahina Adams..................................Asst. Community Connection Director Abbigail Rodriguez, Adrian Flores, Adrianne Garza, Aidan Smith, Alyson Lewandowski, Ana Brown, Annika Rutledge, Ashley Guzman, Ashley Smith, Audrey Ly, Ava Perez, Aylin Martinez Barrera, Barbara Bernier, Brittany Harborth, Carolina Magana, Cellise Brown, Christiana Rodriguez, Christina Liew, Claire Blanchard, Clara Mundy, Clara Truax, Clare O'Brien, Darnell Forbes, Deisy Velasquez, Ella Claret, Emily Brokmeier, Erica Xu, Erika Takovich, Flannery Gallagher, Flora Yiakras, Frances Cava Humphrey, Gabrielle Lopez, Gracie Gilchriest, Hana Ali, Hanaa Irfan, Ifeoluwa Kehinde, Ivanna González, Jackson Sanders, Jacob Vivial, Jade Mia Evans, Jaden Rose, Jessie Curneal, Jhyzel Rojas, John Coffee, Joshua Martinez, Justin Martinez, Karla Zamarripa, Katherine Cruz, Katarina Tyll, Kaylee Holland, Kim Pagtama, Kristen Guillen, Leyla Montemayor, Lily Cartagena, Lissie Hill, Lizzie Dragon, Maddy Rojas, Madee Feltner, Madeline Rose Thompson , Mari Blanchard, Melina Perez, Meredith Brown, Michael Nied, Molly Ellis, Mosto Sheikhi, Pamela De Marion, Persia Lexie, Presley Simmons, Priscilla Takyi, Raina Harmon, Rebekah Heidel, Ren Breach, Reyna Ramirez, Rimsha Syed, Ryan Velasquez, Sally Vo, Shania Wagner, Shreejwal Dhakal, Sophia Karis Coe, Summer Fathke, Sumu Prasad, Tehreem Siddiqui, Tessa Garcia, Triniti Rhum, Tzybyl Magallona Sabido, Vickey Lee, William Gonzales, Willis Randolph Mars Jr., Zach Gonzales, Zahrah Butler, Zai Magallona, Zimei Chen

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............. ........................................... money on trees

dancing before god

elizabethan

all in

l.a. glam

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our lady of sorrows

the twins

garden party

the eye of the beheld

la mouche

warrior

high noon

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................................... 66

the ardor of abundance

let them eat cake

memento mori

royal haus

the party

suspiria

fresco

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porcelain faced people

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the crown

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the roaring 20’s

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her grace’s bath

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the pearl

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L U P

Great wealth, plentitude, extravagence, magnificence, affluence, abundance, el mixamcom - Assets Server on 2021-05-11, 23:03 order: 584322

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E C

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hmua VICKEY LEE model DARNELL FORBES stylist JOYCE KABWE photographer JESSIE CURNEAL layout MARI BLANCHARD writer ANA BROWN

GLAZE

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OPULENCE

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When I was little, I would flip through fashion catalogs and cut out my favorite high-fashion gowns to paste them to white sheets of printer paper. Each additional magazine clipping was another unfeasible material want that I added to my collection. I promised myself, under the naive impression of childhood, that one day I would have enough money to my name to buy every single dress. With every choice I make, I am reminded of that youthful motivation of money I had to own pretty things. Money cannot buy happiness. A trope all too familiar, shadowing every path of my life. Despite this claim, I still find myself comparing my life to celebrities that can supply a whole country with food with just the cash in their back pocket. With every purchase I make of a want rather than a need, I become giddy. I, like many others, have a direct supply of serotonin from my online shopping cart. Sometimes one must extend one’s argument to see the overall big picture. Buying my own prom dress in 10th grade furnished me with an abundance of satisfaction and gaiety, despite what philos-

ophy says. Yet the euphoria only lasted through the planning, the event, then the pictures, eventually dying down when the likes on Instagram did. The happiness that the money “bought” me was inevitably temporary. Despite the discovery that my contentment from my funds was not everlasting, the feeling did resemble the same joy I could feel with anything else. Although cut short, the money did in some way buy me happiness. How can one prevent the plateau of satisfaction, hopefully extending the feeling the money produces indefinitely? Some memories, like any experience, can last forever, the ecstasy only growing with time. That is often not the case, however, so one must rely on a new fondness to suspend one’s high spirits. That is where the idea of a life’s purpose comes in. When people pursue a career, they are virtually prolonging the accumulation of money. In turn, by actively participating in the accumulation of money, one is continuing the cyclic stockpile of contentment. Some outspoken people promote money’s downfall, supporting that money is the root of all evil. Currency is destruc-

GLAZE

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tive--sometimes outweighing morality and allowing humans to make questionable and unethical decisions. Yet materialistic wants are what drives the human race to thrive in specialization. Without the prospect of money, people would lack the motivation to pursue an aimful purpose. One could still argue that money is a malign entity, promoting selfishness and greed. But pairing with the source of envy for the tangible green comes active evolution into a society of diversity and passion. Being successful in this new

age of consumerism is not self-evaluated. Prosperity is defined by one’s environment, and the people in it. Is success trademarked by happiness and contentment with one’s self? No. Instead, the victory of life rests upon the shoulders of visible wealth. If money grew on trees, humanity would wither and wilt into dust. However materialistic and vain, one can participate in this idea of triumph but showing up and showing out--something feasible by buying, spending, and remembering that money CAN buy happiness, even if just an illusion.

OPULENCE

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GLAZE

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OPULENCE

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Dancing Before God hmua RYAN VELASQUEZ models KRISTEN GUILLEN & RYAN VELASQUEZ stylist JADEN GONZALES

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photographer KATHERINE CRUZ layout EMILY BROKMEIER writer MEREDITH BROWN

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I dance delusionally before God We waltz amongst ivy Basking as you show me off I’d do anything to make this last To relax into this like bathwater Darkened centers flushed into beginnings Like the mother creating her daughter

I plead ignorance The spoils go to the brave I call for a revelation I call for both Gods and Monsters to immortalize how I feel

Against my minds ease Their senses seem awry My one true north has shifted with daybreak It curls in the outskirts of my vision The heavens lost in their own unknowing My tears joining the stars themselves Like gas scrambling into empty space

The words that carry the most weight ring empty in their ears The sky plummets as the day folds in on itself

To eternalize shame’s temptation

Though nothing followed

by Meredith Brown

OPULENCE

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OPULENCE

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! " # $ %& $ & ' ! (

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Elizabethan Elizabethan Elizabetthan Elizabethan Elizabethan E Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabeethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan E Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabeethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan E Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabeethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan E Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabeethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan E Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabeethan Elizabethan Elizabethan Elizabethan Elizabethann Elizabethan Elizabethan E Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabeethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan E Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabeethan Elizabethan Elizabeethan Elizabethan Elizabethan Elizabethan Elizabethan E Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabeethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan E Elizabethan Elizabethan Elizabethan Elizabetthan Elizzabethan Elizabethan Elizabeethan Elizabethan Elizabethann Elizabethhann Elizabethan Elizabethan Elizabethan E Elizabethan Elizabethan Elizabethan Elizabbethan Elizabethan Elizabethan Elizabeethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethann E Elizabethan Elizabethan Elizabethhan Elizabethan Elizabethan Elizabethan Elizabeethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan E Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabeetha han Elizabethan Eli b h Elizabethan Elizabbethan Elizabethan Elizabethan Elizabethan Elizabethan Eliza-bethan Elizabethan Elizabethan Elizabethan Elizabethhan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizaabethan E Eliizabethan Eliza-be an Elizzabethan Elizabethan Elizabethan Elizabethan Elizabeetthan Elizabethan betha Elizabethan Elizabethan Elizabethan Elizabethan Elizabethhan Elizabbetthan Eliza-bethan Elizabethann Eliizaabethan Elizabethan Elizabethan Elizabeethan Elizabethan Elizabetthan Elizabethan Elizabethan Elizabethan Elizabethan E Elizabethan ElizaE mixamcom - Assets Server on 2021-05-11, 23:03 order: 584322

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Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizabethan Elizamixamcom - Assets Server on 2021-05-11, 23:03 order: 584322

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hmua SKYLER BURK & MARIAM ALI models WILLIAM GONZALES, MOSTEFA SHEIKHI & SKYLER BURK stylist SKYLER BURK photographer MARIAM ALI layout JHYZEL ROJAS writer CAT CARDENAS

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envyt r ai l ss ucces sl i keas hadow l ur ki ngi nt hecor ner sofourdeepes tdes i r es f angsﬁxedons ucces s ’ e ver ymove s eei ngonl ywhati tadmi r es

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envyi sanemer al dgr eengem i nas eaofpr eci ousgol d quer adi ngaspur i t y , mas ahandt hati tcoul dne verhol d

gr eedwat c hesweal t hl i keaha wk ane ver pr es entﬁxt ur e danger ous l yunnot i ced avoi cebar el yaboveawhi s per gr eedne vercomeswi t hawar ni ng noﬂas hi ngl i ght sorr i ngi ngbel l s i ti ss uddenl yal l cons umi ng noonei mmunet oi t ss ubt l es pel l s

GLAZE

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beaut y , t he ys a y , i si nt hee yeoft hebehol der butwhati ft hate yebel ongst ol us t ? s wi mmi ngi ni nnocenceandwar mt h e yest hatones houl dne vert hi nkt ot r us t mi r r or shol dnoal l i ance r eﬂect i ngwhatt he yknow t obet r ue i nt er pr et at i oni sl ef tt ot her eﬂect i on l ef tt oyouandyourr os ecol or edhue

t heghos tofwhowear e haunt i ngwhowepr et endt obe as hel l ofahuman wi t has oul l os tats ea By CatCar denas mixamcom - Assets Server on 2021-05-11, 23:03 order: 584322

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LA GLAM

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MALG AL

! "

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Our Lady of Sorrows Sheet: 30 Back - File: merged.pdf [215.89999999999998mm X 279.4mm]

by Francisco Rivera

lamentation. Her grief became her eternal sorrow. She wept. As her Son became her Savior and her love became pain, she wept.

The myth of Mary’s eternal sorrow tells us that, like all mothers, she knew. In a dream from heaven an angel announced her fate, that she would bear the Son of God. But it must have been something in the angel’s voice, or in his eyes, which told Mary that Jesus would die the way he did. Mary knew this without the angel having to tell her.

Her tears were carried all the way to heaven, and as he was faced with her agony God had no choice but to feel once again the sorrow of a mother. As a mother himself, he felt that he owed her a debt for her suffering. In his divine plan, God’s omniscience was blind to Mary’s melancholy.

Mary knew this as she pieced her Son together, atom by divine atom, as she birthed him under the sign in the sky. As he woke, slept, and grew, Mary carried the burden of this knowledge without shedding a tear. For 33 years of tortured knowing, her sadness always took the form of a downcast glance.

When Mary arrived in heaven, with no anger in her heart, she had not aged since the night of her prophetic dream. She found a sorry God before her. And as she forgave him, the love of mothers brought a crown of stars to her head, and the moon to her feet, as they healed.

It was only with Christ’s Passion that Mary’s own was released. Her life became an act of

GLAZE

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hmua SKYLER BURK model SKYLER BURK stylist SKYLER BURK photographer MARIAM ALI layout TARA BHIKHA

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The Twins

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hmuas MARIAM ALI & RAINA HARMON models RYAN VELASQUEZ & MARI BLANCHARD stylist CHRISTIANA RODRIGUEZ photographer MARIAM ALI layout LAUREN JOHNSON writer JUSTIN MARTINEZ

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brilliant sun, you grace this land with light; warmth accompanies your striking eminence. beautiful moon, the glow you cast comforts the lone walker; guards from the abysmal darkness. you twins, you godly twins. you emit light, but the light shines brightest on you, the true stars of the show. how far you are from the ones you shine for with only each other to look to for solace, occasionally.

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by Justin Martinez

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OPULENCE

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hmua KATARINA TYLL models PRESLEY SIMMONS & ANA BROWN stylist GABRIELLE LOPEZ photographer REN BREACH layout LAUREN JOHNSON

GARDEN PARTY

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GLAZE

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OPULENCE

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by Flannery Gallagher

hmuas JACOB VIVIAL & JOSHUA MARTINEZ models JOSHUA MARTINEZ & DARNELL FORBES stylist ELLA CLARET photographer AUDREY LY layout G. MERIDIAN RAULINAITIS writer FLANNERY GALLAGHER

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Opulence, like age, is a state of mind. Not only that, it is a form of expression that rises above materialism and money to capture the joy of self-acceptance. We’ve seen many examples of this in the history of art. Ball culture, carnival celebrations, drag, masquerade balls; these are just a few of the ways we can justify the idea that our perception of opulence in regards to others is largely defined by the way those others see themselves. It can therefore be a gorgeous celebration of self, a gold-framed mirror whose reflection says “I am here.” If you’ve seen Ryan Murphy’s show Pose, you may know a little about New York City’s Ball culture. There are many other resources to flesh out the history of balls in Manhattan, such as Jennie Livingston’s documentary Paris is Burning (1991) or Emanuel Xavier’s novel Christ Like (1997). Something that all of these 44

resources have in common is that they embrace the intersectionality of ball culture, which took root in Harlem during the Harlem Renaissance (but it’s important to note that the type of balls which are shown in such shows as Pose were actually developed by Black performers in the ‘60s). Understanding the inherently intersectional nature of balls is significant because without knowing the full history, we risk encouraging the outdated stereotypes surrounding LGBTQ+ community and what it looks like. In reality, the grandeur of a ball was open to everyone, which largely defines the magical quality of the culture. So what is it that continues to make these balls so enchanting to not only be a part of, but to learn about? Perhaps it is the way that they allow everyone, no matter color, gender identity or creed, to feel like royalty. The idea of yourself was celebrated, embraced, taken GLAZE

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care of. In the 1980s, “Houses” took form: three of the most famous were House of Labeija, House of Corey, and House Xtravaganza. The Houses were a safe space for young LGBTQ+ youth of color who felt abandoned in a world that had done everything to take away any sense of belonging; House “parents’’ such as Pepper Labeija and Angie Xtravaganza took on the duties and responsibilities of raising young people to feel loved and valued. In the words of Refinery 29’s Elena Nicolaou, “Ball culture is how these community members earn respect and gain status in a world that has no room for them; it’s a place for free expression.” This concept of finding a space for expression in an unwelcoming world is not specific to ball culture, however. In fact, throughout the history of art, we have seen many examples of people using creative expression to circumvent a cruel reality. For example, the annual celebrations of Carnival (so-called for the sake of this article but we acknowledge that the concept goes by many names around the world) have historically included a reversal of cultural norms: African slaves in Cuba paraded through the streets dressed as royalty, folk traditions took precedence over imposed Christian beliefs across Europe and Latin America, and for the days leading up to Lent (a time of penance and prayer before Easter), everyone across social structures could focus on celebrating life.

How do all of these things tie together with opulence? Because opulence is creativity, it is indulgence, it is glamour. The luminous beauty of an opulent setting, of a gorgeous dress, of a diamond crown (and maybe a scepter, for fun), is not only inextricably linked to ballroom culture; it is connected to the greater idea of acceptance and self-love for people at the margins of society. The idea of being Monarch for the Day sounds lovely to anyone, but imagine living in a world that consistently tells you there is something wrong with you because of who you love, or what you wear, or how you express yourself. Then imagine walking into one of the legendary Houses, and being told “be yourself here. You have inherited royalty, and you’ve come to collect it.” Imagine the kind of celebration you would feel, down to your very bones. To have found a place. And maybe that place doesn’t look like a palace. Maybe you’re not wearing designer clothes, and maybe you didn’t have a chance to do your makeup the way you wanted, and you’re stuck taking the late bus home after winning one of the several categories at the ball. None of these things matter; what matters is that you have started to believe, even just a little, that you are treasured and royal.

Additionally, we have seen many artists create spaces for themselves in an art world that has been criticized for decades as being outdated and lacking in representation of non-White and non-male artists. Think of Judy Chicago’s Womanhouse (1972), the first public exhibition of Feminist art, or Brazilian Helio Oiticica’s parangoles, large, vibrant cape-like garments that were worn in dance performance pieces, often by Afro-Brazilian dancers. Look at the history of art with an inclusive eye and you will see what determination of colonized and formerly-enslaved peoples in creating a spacious world can yield.

OPULENCE

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La Mouche The Blemish Patch That French Aristocrats Made Trendy

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by Frances Cava Humphrey

hmua MARIAM ALI model JADE MIA EVANS photographer TARA BHIKHA layout G. MERIDIAN RAULINAITIS writer FRANCES CAVA HUMPHREY

GLAZE

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By now, most of us have surely seen the trend of star and smiley face-shaped pimple patches, freckled jewels, and other ornate spots on our Instagram timelines. Decorating one’s face with faux marks is not new; in fact, it dates back to Roman Antiquity and has quite a sordid history. Donning these marks came with different meanings over time and did not always have glamorous associations. During the 16th century, these patches were worn by working-class women and had their associations with various viruses. In the 17th and 18th centuries, the beauty mark became synonymous with regality through their appearance on royal faces of Rococo-era French Aristocracy and in genre painting scenes of the lavish beauty routines and standards that came with royalty.

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Much like the beauty mark, smallpox had been around long before its famed popularity. It spread quickly and, especially during the 16th and 17th centuries, ravaged most of Europe, taking millions of lives. Those lucky enough to not be claimed by the virus would still bore its scars or pockmarks, and as a solution, many women began to cover their blemishes with spots made of mouse fur. Because this trend was popularized by working-class women, who were the most vulnerable to other diseases that left their physical mark on one’s face, the imagery of women wearing these marks was stigmatized. We can see the derogatory view towards those who wore faux marks in the 1732 series A Harlot’s Progress by English artist William Hogarth. While the original paintings were destroyed, a copy of engravings remain, which present the imagery of pockmarks and their association to working women. Despite not displaying the lush colors of the paintings, the engravings still feature intricately detailed and insinuative panels— stylistic choices inherent to the nature of the incoming Rococo art movement. Through the detailing and symbolism of things like liquor, fleas, decaying buildings, and broken furniture, these prints virtue signal against prostitution and sex work, implying the women’s moral depravity. The women in the series oft bear dark spots on their faces, which we can assume to be faux beauty marks covering scars left behind by various diseases. In the sixth panel of the series, we see these women gathered around a coffin grieving one of their own. A woman in the rear right corner is shown fixing her face with a spot on her forehead, a composition that will become quite popular, with much higher associations, in the coming years in France.

Less than ten years after A Harlot’s Progress was printed and popularized throughout England, one of Rococo’s most famous painters, François Boucher, created a painting quite similar in composition to Panel 6 of A Harlot’s Progress, but with much less derogatory implications. In contrast, The Breakfast introduces us to the opulent interiors of Rococo, with details of white porcelain, ornamental sconces, gilded rocaille-style paneling, and sumptuous fabrics. The center-right figure, much like the woman in the mirror of A Harlot’s Progress panel 6, dons a beauty spot, assumed to be what the French called la mouche. Because of the luxurious nature of this painting, we see a shift in the appearance of this facial mark. La mouche makes many appearances on the rich and the royal faces of Rococo paintings, many of which depict women of higher status performing the practice of la toilette. Like everything else during the era of Rococo, women’s beauty routines were also driven by opulence. We can again see the lush, flirtatious practice of la toilette in Boucher’s portrait of the famous Rococo style icon and mistress to Louis XV, Madame de Pompadour. This portrait sets the standard for Rococo portraiture, and many other scenes of la toilette are painted in the vein of this style. And while la mouche itself doesn’t appear in Madame de Pompadour’s toilette, we see it in another portrait that copies and pastes Boucher’s portrait’s setting and composition. In La Mouche: A lady at her toilette, by Louise Tocqué, we see another woman of high status sitting at her toilette getting ready — holding a mouche in her hand, ready to place it on her face while another discarded mouche sits on the table next to a flower. In the context of the rich and famous practicing la toilette, placing la mouche on one’s face became a flirtatious moment of intimacy rather than one of depravity. The success or popularity of a trend depends on the way society interprets and judges it. In this case, when worn by those in the upper echelon, the once scorned spot receives a lighter sentence. Suddenly everyone and their butler will be placing a little black dot on their cheek. Trends will always come and go, sometimes quicker than we are able to discern their origins. But before you place that holographic star on your temple, or freckle your cheeks with tiny gems, take a moment to think of the women who donned those spots, before the rich and famous deemed it cute.

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WARRIOR hmua ALEIGH GERRON models BARBARA BERNIER & IFEOLUWA KEHINDE stylist ELLA CLARET photographer JACOB TRAN layout G. MERIDIAN RAULINAITIS

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OPULENCE

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OPULENCE

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OPULENCE

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hmua TARA BHIKHA, SKYLER BURK & ALEIGH GERRON models GIOVANNA CERVANTES, ALEIGH GERRON, KALEE SUE GORE, IFEOLUWA KEHINDE & SALLY VO stylist MELINA PEREZ photographer PAYTON WYATT layout TARA BHIKHA

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O OONO N H NH N

HIG HIG

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.nif

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fin.

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fin.

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hmua SUMMER FATHKE & SHANIA WAGNER models JADE MIA EVANS, IVANNA GONZÁLEZ & HANAA IRFAN stylist ASHLEY SMITH photographer SHREEJWAL DHAKAL writer WILL GONZALES layout TARA BHIKHA

The Ardor of Abundance

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OPULENCE

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LET THEM mixamcom - Assets Server on 2021-05-11, 23:03 order: 584322

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EAT CAKE hmua JANE LEE & SHANIA WAGNER models AVA PEREZ, AIDAN SMITH, & LISSIE HILL stylist DAVID GARCIA photographer KATHERINE CRUZ layout EMILY BROKMEIER

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MEMENTO MORI by Isabella Martinez

hmua ISABELLA MARTINEZ & JHYZEL ROJAS models LIZZIE DRAGON & RYAN VELASQUEZ stylist LIZZIE DRAGON photographer PAMELA DE MARION layout G. MERIDIAN RAULINAITIS writer ISABELLA MARTINEZ

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The hum of life resounds through Crashing waves upon the shore Like a maestro tempting music Toward the swell of a crescendo

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I sit alone before this symphony Surrounded by the sounds of life Singing softly my own song: “Remember that you must die” My lyrics caress the crowd As they dance alongside death With glasses raised and spirits high Reveling in opulence Grand feasts of bread and wine, Glistening gems and pearls and gold, A familiar scene set by the Greedy hands clasped ‘round my own

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Fingers stained by fruit and berry Jeweled with rubies red as blood Reach relentlessly for riches No care for those being taken from They taunt me with their treasures Wearing lives around their necks Oblivious to mortality Shameless with indulgence But melodies must reach an end The final note, the final breath In the silence of still waters Lives the memory of death

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royal haus hmuas ANNA STROTHER & VICKEY LEE models PRISCILLA TAKYI, WILLIS RANDOLPH MARS JR., & DARNELL FORBES stylist JOYCE KABWE photographer PAYTON WYATT layout LAUREN JOHNSON

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OPULENCE

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OPULENCE

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the

PARTY

by Clare O’Brien

Crazy.

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That’s what I was: crazy, for agreeing to go to Ruthie’s engagement party. Of course, it wouldn’t have been a big deal if the party had been scheduled for a month ago, when Mark and I were still together. Now it was simply embarrassing, shameful, having to show up alone. Ruthie never had any trouble keeping her man—she and Stanley had been high school sweethearts, going steady since they were paired together for an experiment in ninth grade science class. The two of them had been exchanging glances and coy smiles for months. We used to joke, Ruthie and I, that she was learning about chemistry in more ways than one! Anyway, now they were engaged to be married, and I had to go to their fancy cocktail soirée to celebrate, and all our classmates from high school would be there. And frankly, I was anxious about the whole thing. The party was in Ruthie’s parents’ backyard, and it had been meticulously decorated—white floral garlands wrapped around the columns of the gazebo, glass tables brimming with hors d’oeuvres and desserts. Perfect, just like Ruthie. Speaking of—

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hmua MARIAM ALI & SKYLER BURK models ZAHRAH BUTLER, CHRISTINA LIEW & PERSIA NEZHAD photographer KIM PAGTAMA stylist SKYLER BURK writer CLARE O’BRIEN layout KIM PAGTAMA

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“My darling!” She gushed, running toward me in her satin kitten heels, holding up the hem of her cream lace dress with one hand and embracing me with the other. “Oh, I’m so glad you could make it—what a shame Mark couldn’t join you, though. We had a plate saved for him and everything.” “Yes, well.” As much as I considered Ruthie my best friend, it was just like her to rub it in my face that she had a fiancée and I did not.

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“Come, I’ll introduce you to Stanley’s college friends. I think you’ll like them.” I reluctantly followed Ruthie into the tent, where a murder of tall, nerdy men stood in the corner, murmuring to each other, every so often inadvertently sloshing their cocktails onto the dance floor when they made gestures with their arms.

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“Boys,” announced Ruthie, “this is my very dear friend, Alice. Alice, this is Frank, Walter, Paul, and Don. Now, she’s come alone tonight, so I hope at least one of you will show her a nice time while I’m busy entertaining the other guests.” She patted me on the shoulder and winked before sauntering away. I stood there staring at my toes while the men stared at me, none of us sure what to do or say. Finally, one of them, a gawky one with unruly hair and a wrinkled burgundy suit, struck out his palm. “Care to dance?” He offered. I placed my hand in his. “Sure.” We ambled toward the center of the floor. He hesitantly put his arms around my waist, and we swayed to the music.

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“So. Uh, Alice, huh?” “Yes.” “I’m Paul. Stan’s friend. At least, one of them. Haha.” I nodded. “That’s nice.” “So, what’s your story? A nice girl like you, all alone?” I let go of my grip around his neck. “I’d really rather not get into that.” “Hey, I’m sorry,” he said, “I didn’t mean to bring up a touchy subject.” “It’s fine.” I smoothed down my skirt. “It’s hot in here, with the lights and all, don’t you think? I’m going to grab some fresh air.”

OPULENCE

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“To hell with the notion that I can’t be content on my own.” He reached for me. “Do you want me to join you?” “No, thank you. I’ll be just a moment.”

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I fanned my face as I exited the tent, feeling a wave of grief and shame wash over me. What a failure I was. How could I have thought that this would be a good idea? Attending an engagement party with my freshly broken heart and newly acquired singlehood? I felt tears well up behind my eyes, threatening to push through. But above all other things, I was stubborn. And I refused to let a man make me cry. I took a deep breath and looked up at the sky, a deep, opaque indigo flecked with silver stars. I closed my eyes, letting the commotion of the party fade away. And then, without realizing I was doing it at first, I let my lips part into a smile. To hell with it all, I thought. To hell with Mark. With Paul. With Ruthie. To hell with the notion that I can’t be content on my own. And I thought, for the very first time, that perhaps I don’t need a man in order to be happy. Perhaps I don’t even want one. Perhaps, just perhaps, I can make my own happiness, all by myself.

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SUSPIRIA

hmua KATARINA TYLL models ASHLEY GUZMAN & CLARA MUNDY stylist DEISY VELAZQUEZ photographer JOHN COFFEE layout G. MERIDIAN RAULINAITIS

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OPULENCE

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GLAZE

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FRESCO

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hmua REYNA RAMIREZ models HANA ALI & ALYSON LEWANDOWSKI stylist SOPHIA COE photographer MOLLY ELLIS layout G. MERIDIAN RAULINAITIS writer ISABELLA MARTINEZ

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OPULENCE

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Hide and Seek what is time but an eternal game of the moon chasing the sun counting down to no avail ready or not, a new day comes as light casts shadows upon the earth she lies hidden in the shade in nights dripping with nostalgia a flame desperate not to fade the distant glow calls out to me though i know not what i seek guided by the forgotten voice down pathways paved with memories

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through the tattered trails i find a child veiled in white she reaches her hand out to mine with eager eyes burning bright her dreams know no bounds she is both sun and moon and her soul, untouched by time, lives within me too by Isabella Martinez

OPULENCE

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! " #$ % # ! & # '( & ( ) ! *(%# ( $ # +

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, -./

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another party, a masquerade to celebrate who knows what music blares and the skirts flare for all they’re worth shimmering satin with the strength of a knights chainmail

-.0 "

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their eyes reach out past their porcelain shields grasping for something anything that might grasp back

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but no one bothers to see the marvels hidden behind the masks.

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Th eC ro wn

hmuaSKYLERBURK&ALEI GHGERRON model sSKYLERBURK,PRESLEYSI MMONS&I FEOLUWAKEHI NDE s t yl i s tLI ZZI EDRAGON phot ogr apherPAYTON WYATT l ayoutJ HYZELROJ AS wr i t erI SABELLAMARTI NEZ

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OPULENCE

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110

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OPULENCE

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POWEROFFEMI NI NI TY b yI s a b e l l aMa r t i n e z

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Bor nb ys t a r sa ndbr e db ye a r t h,He rMa j e s t ys i t supona v e l v e tt hr one .Li k ebr a nc he ss wa y e db yg e nt l ewi nds , s ubj e c t sbo wdo wnbe f or ehe rg r a c e ,s e e k i ngbl e s s i ng s a ndg oodf or t uneunde rhe rc a r i ngr e i g n.Shes t r e t c he s outhe rha ndt oof f e rs e e dsofhopea ndpr omi s e sa f e r t i l eSpr i ngwi t ha mpl eg r o wt h.Shei st hepi nna c l eof po we r ,t hemot he rofa bunda nc e ,ar a di a ntbe a ut y —t he e s s e nc eofTheEmpr e s s . Rul e rofa l l t ha ti sf e mi ni nea nddi v i ne ,t heEmpr e s s s e r v e sa sas our c eofl i f e .F r om he rwomb ,c r e a t i onc a me a ndg r a nt e dhe rt hes t r e ng t hofmot he r hood.He r bos om nur t ur e sr i c hs oi l f orha r v e s ta ndf e e dshung r y s oul s .He rl i psbr e a t hea i ri nt of r a g i l el ung sa ndbl o w br e e z e st ha tc a r r yt hes me l l ofr a i n.Shec r a dl e st he wor l di nhe ra r ms ,ne v e rf a l t e r i ngf r om i t swe i g ht . TheEmpr e s spa i nt she rl a ndwi t hbl oomi ngf l o we r s , a nds k i e swi t hs e t t i ngs uns .Thr oug hhe ra r t ,s he c ha nne l sVe nus ,t hepl a ne tofbe a ut ya ndl o v e .He r a r de nthe a r tbur nsbr i g hta ndi l l umi na t e st heni g ht , c a s t i ngoutt hes ha do wst ha tv e i l unc e r t a i ne y e s .She c ha r g e sf or wa r dwi t hope na r msa ndwe l c ome st heda r k i nhe re mbr a c e .Sof t e ne db yt het ouc hofc ompa s s i on, he rhe a l i ngl i g hts hi ne st hr oug h. Gol de nr a y sg l i ntof fhe rc r o wnofs t a r s ,be s t o we d b yt hehe a v e nsa bo v e .Mot he rNa t ur e ,Que e nofBe a ut y , t heF e mi ni neDi v i ne —s heba l a nc e sbe t we e nt her e a l ms wi t hahumbl ee l e g a nc e .He rs ubj e c t ss i ngi nha r mony : a l l ha i l TheEmpr e s s . OPULENCE

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My Roaring Twenties Listen to me—you deserve all the best. The universe is just putting your faith to the test. I’ve looked at your journals, filled with demons and darkness The sparkle that once filled your eye has now tarnished. But please, don’t you fret! Soon you’ll party again

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Speakeasies brimming with old and new friends Your loneliness quelled, vigor for life renewed Self-imposed isolation you’ve finally eschewed Evening gowns cloaked under indigo sky To this troublesome year, you’ll have waved goodbye Listen to me—soon, things will be quite alright Just be patient, as Gatsby reached for his green light.

by Clare O'Brien

OPULENCE

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her grace’s bath

hmuas TESSA GARCIA & TZYBYL MAGALLONA SABIDO models KALEE SUE GORE, CELLISE BROWN, & TZYBYL MAGALLONA SABIDO stylist CLARA TRUAX photographer LAUREN JOHNSON layout LAUREN JOHNSON writer BENNET BURKE

120

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OPULENCE

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Her Grace is elegant Her Grace is fine The Duchess does not wrinkle She ages like wine.

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But in needing assistance For her daily bath Her Grace, the Duchess Commits lots of gaffes. She can’t work a faucet For the bathtub to fill She can’t hold the pitcher For the water would spill. So her ladies in waiting Accept these odd tasks So the Duchess, her Grace Can in warm water bask. They’re happy to do this It seems to her Grace But really they wouldn’t Say to her face The nature of how They feel towards their job And how they find her Grace The slightest bit odd. The Duchess is kind This much is true! A good boss to them Understanding, too. But now and then they feel Just a tiny bit crazy! Is her Grace really delicate? Or just the slightest bit lazy?

by Bennet Burke

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GLAZE

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hmua MARIAM ALI models BECK PRECIADO & PRISCILLA TAKYI photographer KIM PAGTAMA stylist MARIAM ALI writer BRITTANY HARBORTH layout KIM PAGTAMA

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The Pearl by Brittany Harborth

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The little pearl, born from a clam In a sea somewhere far away Sits in the palm of her hand Smooth and cool to the touch An ethereal glow emanates from within Resembling a tiny drop of moonlight They decorate our flesh in intricate patterns A gift from nature itself She too is like the pearl, she thinks Beautiful things form over time

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hmua MADDY ROJAS & LILY CARTAGENA models GIOVANNA CERVANTES & PRESLEY SIMMONS stylist MADDY ROJAS photographer JESSIE CURNEAL

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u s is

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4 0 e

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GLAZE ZINE

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VOL. IV

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