Issue 06: Metamorphosis

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TABLE OF CONTENTS TABLE OF CONTENTS

ISSUE 06

PAGE 08-11

THE GRAND GARDEN OF EVERYTHING

PAGE 12-17

A UTOPIAN SUMMER

PAGE 18-21

THE HANFU REVIVAL

PAGE 22-25

THE HYPERPOP MACROCOSM

PAGE 26-29

THE MOST POPULAR PRINT: BUTTERFLY

PAGE 30-33

MYTHS + FAIRTYLES OF TRANSFORMATION

PAGE 34-37

GIRLHOOD

PAGE 38-43

A CHAT WITH CHRIS OLSEN

PAGE 44-53

FLAT ADORNMENTS

PAGE 54-59

AN INTERVIEW WITH TINA LEUNG

PAGE 60-65

NERI OXMAN: LIQUID ALCHEMIST

PAGE 66-69

TRADITIONAL TEXTILES + THE COST OF CHANGE: GLOBAL TRADE IN MYANMAR

PAGE 70-73

THE RED JUMPSUIT: A SYMBOL OF CONFORMITY AND REBELLION

PAGE 74-77

THE KEFFIYEH’S CULTURAL METAMORPHOSIS

PAGE 78-81

THE TALE OF THE UGLY DUCKLING

PAGE 82-85

THE STAGE IS A ROAD THROUGH TIME

PAGE 86-87

THIS IS DISCO DECORUM

PAGE 88-91

POWER + FEMININITY: FEMALE METAMORPHOSES IN WWE

PAGE 92-93

STILLS

PAGE 94-95

THE IN BETWEEN

PAGE 96-99

META SAYS: THANK YOU

PAGE 100-101

JOY CHEN + TIFFANY HUE CASEY NGUYEN LILLIE YAZDI

KRISTY LEUNG + MICHAEL CANABARRO ANNA-MARIE GUENTHER + MAX GRUBER ALEXIS SCHROCK + CATHERINE CHU RACHEL FENG + SEJUN PARK SOPHIE SHAW JOY CHEN + TIFFANY HUE SEY YANG

JOY CHEN + TIFFANY HUE

VANESSA NGUYEN + LILY GLANTZ ERIN YEH + NICK BROGDON

CAITLIN CHEN + JUSTIN LEE

NATALIE SEMERSKY + ANUBHA GUPTA CHARLES TRAN NÉHA GUPTA

JORDAN MULA + BRIAN NGUYEN JULIETTE CORNET + PAIGE BRUNSON MAYA GEE-LIM + CHARLES TRAN MIKAYLA LOBASSO

JOY CHEN + TIFFANY HUE

TABLE OF CONTENTS

LETTER FROM THE CO-FOUNDERS

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EDITORIAL STAFF

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Editor-in-Chief

Creative Director

Tiffany Hue

Joy Chen

Arts & Culture Managing Editor Juliette Cornet

Fashion Managing Editor Rachel Feng

Politics & Activism Managing Editor Erin Yeh

Assistant Arts & Culture Editor Assistant Politics & Activism Editor Assistant Director of Editorial Design Arts & Culture Staff Writer Arts & Culture Staff Writer Fashion Staff Writer Fashion Staff Writer Politics & Activism Staff Writer Politics & Activism Staff Writer Editorial Designer Editorial Designer Content Designer Content Designer Content Designer Content Designer Content Designer Content Designer Illustrator Illustrator Illustrator Illustrator Set Designer Stylist Photographer Photographer Photographer Photographer Photographer Photographer

Anna-Marie Guenther Natalie Semersky Allyza Quiambao Jordan Mula Néha Gupta Alexis Schrock Vanessa Nguyen Caitlin Chen Kristy Leung Gracy Watts Vivian Nguyen Brian Nguyen Justin Lee Max Gruber Paige Brunson Sejun Park Sophie Shaw Anubha Gupta Catherine Chu Lily Glantz Michael Canabarro Charles Tran Lynn Aiko Casey Nguyen Lillie Yazdi Maya Gee-Lim Mikayla LoBasso Nick Brogdon Sey Yang

Issue 06 | Metamorphosis

LETTER FROM THE EDITOR-IN-CHIEF TIFFANY HUE

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LETTER FROM THE EDITOR-IN-CHIEF

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When you were younger, have you ever seen a butterfly bloom into an adult? Did it fascinate you when the sixteen legs on the caterpillar soon became six, and it crawled into its cocoon for two weeks as you impatiently awaited its emergence from its chrysalis? Do you remember the feeling of bittersweet sorrow you felt when the butterfly flew off into the world forever?

Throughout the full metamorphosis of a butterfly, the creature seemed to be preparing itself for oblivion before setting off into a world larger than life. In a way, this idea of the unknown is a beautiful homage to the futures we set before ourselves, and though our metamorphoses as humans last years longer than those of insects, it is up to us to break out of our chrysalises and set out into the world.

Today, we hope that the metamorphosis of META has grown into something that encapsulates a journey towards change to impact our futures. As we continue to grow into our new selves, our editorial grows with us.

After years of searching for a space that would support the voices of creatives like us, Joy and I set out to instead make our own editorial that authentically represents the stories we want to tell. Throughout our time building META from the ground up, we have met incredible people and worked with an extremely talented team who continues to inspire me to be better.

To accompany this issue, we launched our first series of NFTs to mark the next stage of our metamorphosis by entering the Metaverse. Our three-part series from the photoshoot features 3D modeling that speaks to the refined nature of transcending beyond our current platform. What makes META great is extending our mission in more ways than one.

With that being said, I encourage you to tap into your subconscious and explore how you have transformed into the person you are today as we join together to read Issue 06: METAMORPHOSIS.

With love,

Tiffany Hue Co-Founder + Editior-in-Chief

LETTER FROM THE EDITOR-IN-CHIEF TIFFANY HUE

Our sixth issue, METAMORPHOSIS, explores ideas of growth, change, and prospects of challenge. The editorial unpacks new perspectives of the state of self and the world together as we analyze how our past affects our future. And to this, we ask ourselves, what made you who you are today? Perhaps the exploration of different philosophies and cultural movements in our editorial may reveal more about ourselves than we have ever known.

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LETTER FROM THE CREATIVE DIRECTOR The concept of metamorphosis is a reminder to ourselves of what it means to continue to evolve from who we once were. The identities and the personalities that we feel are intrinsically tied to us are constantly growing and changing.

Who we were two years ago is nowhere close to who we are today. The pandemic has changed each and every one of us, creating a metamorphosis in the world as we all shifted priorities about what it means to exist in a world where tomorrow is not guaranteed.

Metamorphosis is an enduring process and it is not for the faint of heart. Even as we exist today, the landscapes of our personal and global worlds continue to change and evolve. For META, we began in our childhood bedrooms, cocooned by the safety of our homes. And after months of cultivation, long hours designing, or on calls with one another, we finally were let out. When what we were creating felt like an exciting part of our journey, another page to this book we were writing together, we were able to step out into the world and yell for everyone to hear that we existed.

LETTER FROM THE CREATIVE DIRECTOR JOY CHEN

And that’s what we are doing with this issue. With our name being META and this issue titled METAMORPHOSIS, it only felt fitting that this was our time to enter in to the Metaverse. The digital world is constantly expanding, and as are the ways that creatives can leverage their talents. With this issue, we will be launching our first NFT collection that is emblematic of what it means to grow in a digital universe – with 3D modeled vines and flowers that intersect with aspects of the real world, our evolution between the physical and digital is becoming intertwined.

This issue is a symbol of our growth. It is our sixth issue and marks the creative growth of this team and the strength each person has undergone through this tenacious journey of attempting to be in a world that has made it challenging.

As you read through this issue, I encourage you to explore your metamorphosis. How are you continuing to change and evolve? Each person’s journey is different and unique to themselves. It is a reminder that we all grow and change at different rates – our metamorphoses are for ourselves. You are not on one path, nor are you meant to fast-track it. This issue hopes to serve as a reminder to you that we are always growing – we are ever-changing.

With love,

Joy Chen Co-Founder + Creative Director

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LETTER FROM THE CREATIVE DIRECTOR JOY CHEN

THE GRAND GARDEN OF EVERYTHING CASEY NGUYEN

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The Grand of Ever CASEY NGUYEN

nd Garden rything

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DIARY ENTRY NO. FIFTYSEVEN. MARCHTWENTYFOURTH, TWENTYTWENTYTWO IF FOUND, RETURN TO ME, DAT NGUYEN, AT 001 GREEN DRIVE, LOS ANGELES, CA

THE GRAND GARDEN OF EVERYTHING CASEY NGUYEN

THE GRAND GARDEN OF EVERYTHING CASEY NGUYEN

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My dad often stands in the same garden I tend to, breathing in the smell of freshly cut grass, and almost always in his signature proud dad stance. He is an intelligent engineer and an even greater learner. He’s a man of the machines, essentially. But no human is too mechanized for the sight of a beautiful garden.

Despite his meticulousness and obsession with detail, I have witnessed him screaming and punching and cursing his way through his confusion and fears.

He’s not a fearful man, by any means. But in his most human moments, I think his frustration stems from him trying to learn and accept the nature of the people he loves the most. He’s still learning to be a better husband who compromises decisions and prioritizes care in his marriage even after 25 years.

He’s learning how my brother is so incredibly gifted and intelligent that he seems to outgrow him in

certain aspects. For me, he’s learning to accept that my passion for the heavily non-traditional industry of fashion is just a part of who I am, alongside the myriad of other things he has yet to learn about me.

I can’t help but feel guilty about the things I hide from my dad. Not just the part that I don’t share, but even the parts I’m still finding out for myself. I know it must frustrate him, but I’m finding the strength to invite him along in that journey, even if it means we invite more disagreements into our lives. For now, I adore his grace, patience and love for providing me with the space and time to do so. As he stands in the garden that I consider a metaphysical extension of my mind, I just wish it was that easy for him to sit back, smell the roses and understand everything there is and will ever be of me.

For today, I have constructed for you this infinite representation of my mental state, beautiful, vast and unrelenting. I hope you see yourself in his poetic journey through the space, how beautiful everything I can ever be is but how little I’ve discovered so far.

THE GRAND GARDEN OF EVERYTHING CASEY NGUYEN

One of the ways I like to keep sane is to garden.

Taking care of something as fragile and fickle as a rose plant in the harsh California desert is the exact kind of futile defiance against the impossible that I identify with. Plus, it’s a happy compromise that I’ve made with myself for creating a lifestyle that morally prevents me from ever getting a dog as a pet.

THE GRAND GARDEN OF EVERYTHING CASEY NGUYEN

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DIARY ENTRY NO. FIFTYSEVEN. MARCHTWENTYFOURTH, TWENTYTWENTYTWO IF FOUND, RETURN TO ME, DAT NGUYEN, AT 001 GREEN DRIVE, LOS ANGELES, CA

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THE GRAND GARDEN OF EVERYTHING CASEY NGUYEN

A UTOPIAN SUMMER LILLIE YAZDI

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LILLIE YAZDI

A Utopian Summer

A Utopian Summer is a collection of photos representing a mirage of what summer is fantasized to feel and look like. As we get older and change through each stage of our lives, we stray further and further away from the innocence of our youth. We once were able to live through that season with one task– doing nothing. As we grow through each phase of our life, responsibilities pile on and we no longer are the same people who can sit out all day and not have a care in the world. With time passing on, that former experience soon turns into a dream that we can’t experience in reality again. The dream where everything is perfect, the weather is amazing, food tastes better, and colors seem brighter, almost as if it’s all fake.

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A UTOPIAN SUMMER LILLIE YAZDI

A UTOPIAN SUMMER LILLIE YAZDI

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A UTOPIAN SUMMER LILLIE YAZDI

THE HANFU REVIVAL KRISTY LEUNG + MICHAEL CANABARRO

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THE HANFU REVIVAL When conjuring up images of traditional “Chinese-ness,” Hanfu commonly appears second to the qipao, an ornate, close-fitting dress that populates much of ChineseAmerican media. Unfortunately, the qipao has often been popularized as the seductive and oriental image of the Chinese woman, flattening China’s vast ethnic differences into a monolith. The traditional Chinese dress of Hanfu, in contrast, has the potential to represent richer regional complexity and transform the way the Chinese diaspora is perceived on the global stage.

Featured most prominently in historical Chinese martial arts dramas, Hanfu dress might be recognizable from its wide, sweeping sleeves and intricate patterns found today in historical martial arts entertainment.

Defined quite literally by its name, Hanfu— Han (漢) for Han Chinese and yifu (衣服) for clothing—describes any type of dress derived during the rule of the Han Chinese, an East Asian ethnic group known today as the Chinese people.

Spurred on by Chinese fantasy entertainment and its escapist aesthetics, today’s Hanfu industry permeates various facets of Chinese society, including cultural performances,

gaming cosplays, weddings and exhibitions.

In 2019, the Hanfu fanbase experienced a 74.4% increase since the previous year and amassed over 6 million fans in 2020. Online, #Hanfu reached nearly 5 billion views on the microblogging site Weibo and nearly 50 billion views on the Chinese Tik Tok platform Douyin. This resurgence can partly be attributed to the widespread influence of Chinese period dramas, which popularized the traditional dress to Chinese youth seeking greater cultural awareness. This emerging phenomenon, known as ‘China chic,’ describes how Chinese youth have begun to draw pride from having fashion trends of their own culture rather than relying on Western styles. At a glance, the revival of Hanfu is surely a healthy vessel for cultural confidence and national cohesion. But against a more controversial political and ethnic backdrop, the rise of Hanfu raises concerns about the prevalence of mono-ethnic nationalism in China, a country composed of 56 official ethnic groups with a 92% Han Chinese majority. Among the remaining 55 minority ethnic groups are Zhuangs, Miaos, and Uyghurs, all of which are recognized by the Chinese government but receive little cultural representation.

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THE HANFU REVIVAL KRISTY LEUNG + MICHAEL CANABARRO

THE HANFU REVIVAL KRISTY LEUNG + MICHAEL CANABARRO

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THE HANFU REVIVAL

If Hanfu is to become the primary image of “Chinese-ness,” it is important to acknowledge that the term, unlike what it suggests, encompasses a plethora of historical and ethnic influences from the Tang, Song and Ming dynasties, among others dating back to the third century. Different garments, skirts and trousers were worn as reflections of beauty, wealth or political status depending on the historical period. Wars also reconstructed Hanfu designs, drawing lines between northern and southern styles or changing pieces to mirror society’s dominant philosophies of the time. For example, the Jin Dynasty saw floor-length sleeves and fluttering belts in reference to liberation and spirituality, while the Tang Dynasty saw floral combinations of delicate reds and greens.

Variations of Hanfu were also influenced by different ethnic groups; for example, the nomadic Hu people of China’s northern steppes altered Hanfu to provide wearers with warmth and mobility during wartime.

Regardless of whether Hanfu embodies the former or the latter, Hanfu, being a piece of clothing, inherently remains a vessel through which identity is expressed. If Hanfu represents the singular identity of dominant Han culture on the global stage, then Chinese people, by extension, may be imagined similarly. But the opposite is also true. If Hanfu deviates from mono-ethnic representation to acknowledge greater regional and ethnic diversity in China, the image of being “Chinese” might abandon the oriental qipao and transform to tell a richer historical, cultural, and ethnic story about the Chinese diaspora.

“The traditional Chinese dress of Hanfu, in contrast, has the potential to represent richer regional complexity and transform the way the Chinese diaspora is perceived on the global stage.”

THE HANFU REVIVAL KRISTY LEUNG + MICHAEL CANABARRO

As a result, some people today prefer the term Huafu to include the contributions of ethnic minorities to historical fashion.

Huafu, by contrast, exemplifies how language in fashion has the power to redefine the Chinese diaspora in broader terms. While Hanfu enthusiasts argue that the term Hanfu promotes unification in Han nationality, several researchers believe that the clothing, in its effort to establish unity, asserts discriminatory Han dominance upon millions of ethnic minorities in China. These concerns echo more recent ethnic conflicts, of which the most prominent example is the detainment of Uyghur and Muslim ethnic minorities in government-prescribed

“vocational training centers” in western China.

In this context, Hanfu was seen in public performances on Uyghur schoolchildren, drawing harsh criticism for being a tool for cultural genocide. This perspective joined the Hanfu Revival to form two sides of the same coin—Hanfu as a tool for political ideology versus cultural celebration.

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ANNA-MARIE GUENTHER + MAX GRUBER

THE HYPERPOP MACROCOSM

THE HYPERPOP MACROCOSM MAX GRUBER + ANNA-MARIE GUENTHER

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With every new object of fascination that occupies virtual discourse comes an onslaught of doubt and criticism at the short-lived and fad-like nature of internet attention. Yet, it seems as though hyperpop, alternatively known as digicore, is here to stay.

Describing the listening experience of hyperpop and glitchcore’s more prominent artists is a concentrated effort; an objectively bitter and boisterous sound that beckons to be played louder.

The rebellious advancement of these genres has spurred a binary in their musical approval, or lack thereof. Regardless, the movement of popular music into the hyperpop dimension, by definition chaotic pop music, seemed inevitable, with the unstoppable virality and cemented legacies of the likes of SOPHIE, PinkPantheress, and A.G. Cook.

Alice Longyu Gao is as much of a visual artist as a musical performer; a glance at her presence on social media would substantiate her creative dexterity. In 2015, as a third-year student at Boston University, Alice described her style as “Harajuku-meets-fairies-meets-performance art.” Always steadfast about how she chooses to present herself, she declared that, rather than confining herself to any creative label, Gao identifies as a “behavioral artist,” where each day is another opportunity to perform. This undoubtedly still holds true seven years later, and her Rococoinspired garments continue to dominate her wardrobe. Alice frequently dons handmade gowns embellished with angel and fairy tale motifs, finding comfort in the DIY and unrestricted nature of Harajuku style. Expertly described by i-D as a “badass sailor moon princess,” Gao’s imaginative prowess also extends to her makeup abilities. Her daily color palettes span well across the rainbow,

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A prominent figure in the hyperpop playing field, Alice Longyu Gao receives the brunt of the criticism that many artists endure while occupying the controversial music genre.

Belonging to, or rather being assigned to, a frivolous, frustratingly vague style of music boxes in artists and their schemes in electronic experimentalism.

The nebulous label of hyperpop gave rise to an adjacent phenomenon that similarly struggles with categorization: glitchcore. Best explained as psychedelic disarray, glitchcore is a uniquely internet-born visual and auditory experience that often appropriates the likeness and commercial potential of hyperpop but takes it one step further, descending into a hallucinatory spiral of sound.

Glitchcore’s visual and aural soundscape paired with hyperpop’s arguably more pleasing electromaximalist presence has allowed the genre to firmly nestle itself into the cyberspace, inspiring an aesthetic of supersaturation and unapologetic eyestrain. Its indescribable popularity can be held partially responsible for the mainstream recognition of artists like CMTEN and GlitchGum. As these artists continue to cross creative boundaries and redraw the bounds of what constitutes “viable” music, the chaos and general wackiness artists like Gao proudly parade will continue to entice doubt in the art form’s earnestness. For this reason, Gao, as well as the successful musicians alongside her, own their success with a degree of spite funneled at all professionals in the industry with the corporate influence that insists on underselling their sincerity and poise as creatives. A convenient yet imprecise label, hyperpop as an umbrella term is insufficient for many artists in describing the true scope of their musical potential and future realization. It would be no surprise for many of the names saturating the genre now to transgress its limits in the near future.

THE HYPERPOP MACROCOSM ANNA-MARIE GUENTHER + MAX GRUBER

Likewise, storming into the hyperpop scene is Bengbu princess Alice Longyu Gao. Upon her 2019 collaboration with Dylan Brady, one-half of the similarly divisive musical duo 100 Gecs, Alice became a crucial player in the manic music universe with her fervid single “Rich Bitch Juice.” Since then, Gao has appeared alongside the prominent British producer Mura Masa and maintains complete control of her brand and sound, releasing her debut EP ‘High Dragon and Universe’ in 2021. Bouncing around downtown Manhattan, Alice has made a name for herself with her maximalist DJ sets and stylistic choices.

and she expertly incorporates mixed media into her visage. Taking after Kabuki, a form of traditional Japanese hyper-stylized theater, Alice frequently lines her eyes in red watercolor with Yayoi calligraphy brushes, referencing the good fortune the color red represents in many Asian cultures.

For Gao, using makeup as a creative outlet is an act of self-preservation. Appearances are of particular importance to the 28-year-old, as Gao contends that taking the time to dress up head-to-toe every day serves as an act of self-care.

THE MOST POPULAR PRINT: BUTTERFLY ALEXIS SCHROCK + CATHERINE CHU

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ALEXIS SCHROCK + CATHERINE CHU

THE MOST POPULAR PRINT: BUTTERFLY

The butterfly served as a reminder of the women’s natural beauty and femininity.

The butterfly is nature’s embodiment of ethereal transformation. Throughout history, fashion designers have been inspired by this creature, incorporating them into their designs.

When integrated into fashion, the physical metamorphosis of the butterfly connects to the transformative aspect of clothing. The butterfly takes on different phases of its life—the caterpillar, the cocoon, and the butterfly. This process of change transforms the creature from one form to another. In fashion, clothing similarly transforms the individual wearing it. Fashion, like the butterfly, is transformative and powerful.

The butterfly is nature’s embodiment of ethereal transformation.

designs exemplifies the versatility and range of the butterfly in fashion. The butterfly can be utilized as a symbol, but the symbol’s meaning is defined by both the wearer and designer.

The butterfly has continued to flutter through fashion’s evolution throughout the years and has continued to be used as a powerful symbol by the wearer. In the ‘90s, the butterfly metamorphosed into more than just a print; it turned into a physical article of clothing. A vividly colored and beaded wrap-around butterfly corset designed

by Emanuel Ungaro was seen on Mariah Carey during one of her performances in 1997. This wrap-around butterfly top appeared on the body as if the butterfly was there itself, completely enveloping the natural feminine curves of the body underneath it. It was a literal embodiment of the butterfly and a visual representation of not only metamorphosis but radiant femininity. The butterfly’s role in fashion increasingly became more of a symbol of femininity, beauty, strength, and transformation. The butterfly has not faltered in its dominating role in fashion decades later.

Kim Shui’s Spring/Summer 2020 collection was best described by the designer as a mix between “the Ming Dynasty and Eurotrash.” This collection subverts traditional Chinese prints with edgy, sexy, and contemporary skirts, dresses, and sets. Many of these designs featured butterflies.

From detailed Xinhua butterflies made of silk on two-piece sets to vibrant blue layered butterfly wings on dresses, Shui’s inclusion of butterflies juxtaposes the butterfly’s delicacy with the clothing’s edginess.

The butterfly’s inclusion emphasizes femininity and its power is directly related to Shui’s representation of transforming femininity.

THE MOST POPULAR PRINT: BUTTERFLY ALEXIS SCHROCK + CATHERINE CHU

The butterfly is one of the most popular prints in fashion. Dating back to the 17th century, various articles of clothing were embroidered with details of nature, like flowers and various insects, including the butterfly. The butterfly’s symbolism was also used in the Surrealist movement as a symbol for a new definition of beauty. In 1937, Elsa Schiaparelli, a Surrealist fashion designer, wanted to depict the change from ugly to beautiful through her designs. Many of her clients were women who did not fit the accepted standard of beauty. Schiaparelli’s designs were purposely created to help these women develop their own particular styles of beauty and fashion.

The butterfly served as a reminder of the women’s natural beauty and femininity. The evening dress from Schiaparelli’s summer 1937 collection was a long dress detailed with butterflies of all different colors. Her use of the butterfly symbol was inspired by other Surrealist artists, such as Salvador Dalí and Max Ernst. Schiaparelli was also inspired by the Surrealists in her act of using an insect to decorate a women’s dress, as it was an uncommon, unexpected choice at the time.

The application of the butterfly throughout these

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The butterfly symbol is used throughout history as an allegory of transformation, but when incorporated into fashion, the butterfly takes on different roles.

The Blumarine Spring 2022 collection by Nicola Brognano is another example of the modern butterfly in fashion. Brognano’s collection features butterflies in almost every look. The butterfly takes form in the physical through chain necklaces, belts, and denim corsets as well as through print in fuchsia pink outlines of the creature. This collection served as Brognano’s interpretation of the Y2K renaissance. Brognano claims that the butterfly serves as a symbol of ethereal beauty and mysterious transformation, which emphasizes the brand’s belief in the seductive talent that every woman can express, with glamour and a sense of play. The butterfly comes to represent a form of femininity intertwined with strength, seductiveness, and beauty in this example.

THE MOST POPULAR PRINT: BUTTERFLY ALEXIS SCHROCK + CATHERINE CHU

The butterfly symbol is used throughout history as an allegory of transformation, but when incorporated into fashion, the butterfly takes on different roles. The butterfly symbolizes nature’s beauty, delicacy, and femininity. However, the butterfly is also a juxtaposition in itself—while its wings are thin and bendable, they are incredibly

strong and powerful. In this sense, the butterfly challenges stereotypical ideas of femininity; it demands that this juxtaposition and change be noticed. The transformative aspect of clothing and its ability to alter perception directly relates to the metamorphosis of the butterfly.

Our affinity for butterflies in fashion may be a result of our own desire to reflect and define our own transformation. As time passes, we continually learn to grow and evolve into our new selves; a metamorphosis of self.

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THE MOST POPULAR PRINT: BUTTERFLY ALEXIS SCHROCK + CATHERINE CHU

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Myths and Fairtyales of Transformation

MYTHS & FAIRYTALES OF TRANSFORMATION SEJUN PARK + RACHEL FENG

RACHEL FENG + SEJUN PARK

Fashion is a mode of storytelling, a way to transport yourself to places you’ve never been and explore worlds that don’t exist. Whether it’s in ancient Greek myths, classic English fantasy novels, or French fairytales, the legend of change is one that continues to influence fashion today. By drawing inspiration from various stories of transformation, designers are able to tap into our collective nostalgia for stories centuries old, our yearning for fantastical lands, and our curiosity for what it would be like to turn into something else.

Greek myths are ripe with transformation. One of the most famous of these myths is the story of Leda and the swan, in which Zeus, king of gods, transformed into a swan and raped Leda, queen of Sparta.

Set in the Panathenaic Stadium, home to the first Olympics, the Dior Cruise 2022 collection and show was inspired by all aspects of ancient Greece, from its athletic history to its peplos tunic dresses.

This collection by Maria Grazia Chiuri included both elegantly draped dresses and abstract printed sweatpants, taking a new twist on sportswear that focused on the freedom of movement while maintaining the sleek look of couture.

Thousands of years later, writers, animators, and artists of all sorts continue to seek fantasy and magic in their work. Alice in Wonderland, the classic tale where Alice is transported into Wonderland and undergoes a dizzying series of shrinking and growing, is one that has proven especially inspirational. Lewis Carroll’s story lends itself to a wide range of moods and interpretations; it can be a whimsical adventure of exploring a magical land or an unnerving nightmare of nauseating twists and turns and never finding home. In 2003, American Vogue staged a photoshoot centered around Alice and the rest of the eccentric cast featuring model Natalia Vodianova as Alice and designers as the other characters: John Galliano played the Queen of Hearts, Tom Ford the White Rabbit, Stephen Jones the Mad Hatter. Vodianova donned a variety of versions of the classic blue dress, including a kitschy Marc Jacobs ruffled mini dress and a Chanel satin jacket and skirt set. The bright cyan of her outfits contrasted with the shadowy forest background, leaning into the surrealism integral to Alice’s story.

She is a young girl dressed in frills who is shoved into an uncomfortable, unfamiliar world—literally.

She is overgrown and stuffed into a dollhouse in one photo and falling down through endless darkness in another.

Vogue’s distortion of a children’s story into something uneasy yet beautiful mimics the warping and transforming that Alice herself undergoes.

When one thinks of such stories, it’s hard not to

By drawing inspiration from various stories of transformation, designers are able to tap into our collective nostalgia for stories centuries old, our yearning for fantastical lands, and our curiosity for what it would be like to turn into something else.

MYTHS & FAIRYTALES OF TRANSFORMATION SEJUN PARK + RACHEL FENG

The finale dress was an homage to the myth of Leda and the swan; a dramatic tulle gown with a swan’s wings and neck draped around the model’s neck was Chiuri’s adaptation of the iconic myth.

Specifically, this version was inspired by a 1935 photo of American actress Marlene Dietrich dressed as Leda and the swan for a costume party. Dior

Cruise 2022 is a celebration of Greek antiquity and culture, bringing the viewer back to ancient locales to hear stories of all-powerful yet flawed gods.

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It is not gaudy or overly explicit—there is no yellow ball gown, for instance—but is instead composed of largely wearable pieces, allowing the wearer to bring a touch of fantasy into their everyday lives.

MYTHS & FAIRYTALES OF TRANSFORMATION SEJUN PARK + RACHEL FENG

imagine Disney fairytales; from Ariel turning from mermaid to human to Tiana becoming a frog, Disney is clearly a fan of this trope of transformation. Beauty and the Beast is another famed fairytale, and in celebration of Disney’s 2017 remake, Christopher Kane launched a limited capsule collection inspired by the film.​This collection was a modern reinterpretation, drawing from the film’s characters and overall look. The color palette relied mainly on delicate golds and blues, along with the deep red of the rose. The beast himself makes an appearance too, blown up on a sweatshirt, his fur extending into a pair of joggers. A fairy blue Gainsborough silk is also repeated on multiple pieces, a nod to many of Walt Disney’s traditional blue princess dresses. An apt choice for a collection based on princes and princesses, Gainsborough Silks’ fabrics are woven on traditional looms and have adorned the interiors of Buckingham Palace, Windsor Castle, and more.

The capsule collection is a subtle interpretation of the Disney tale. It is not gaudy or overly explicit—

there is no yellow ball gown, for instance—but is instead composed of largely wearable pieces, allowing the wearer to bring a touch of fantasy into their everyday lives.

Fashion often serves as a vehicle for sentimentality and remembrance. The legend of metamorphosis is one that appears in many of our most beloved stories, and thus it manifests itself in our fashion too.

Designers frequently draw from these stories past, providing either a way to transform ourselves and escape from a reality mundane in comparison to fairytales or simply an ode to monumental literature and film.

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MYTHS & FAIRYTALES OF TRANSFORMATION SEJUN PARK + RACHEL FENG

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Girlhood

GIRLHOOOD SOPHIE SHAW

SOPHIE SHAW

Girlhood is a dream-like return to our

youth; our candy-coated time of dress up and play, when the hardened rules of clean, minimalist fashion didn’t yet apply. The birthday cake amongst the pastel color palette stands as a bittersweet symbol of growth within our metamorphosis from girl to woman. And while we might be getting older, there is no real reason we can’t wear the pink boots to the grocery store, or put two skirts on at once, drape ourselves in colorful crochet, or accessorize with the whole jewelry box…

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Having fun like we used to shouldn’t have ever gone out of style.

GIRLHOOD SOPHIE SHAW

GIRLHOOOD SOPHIE SHAW

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GIRLHOOD SOPHIE SHAW

GIRLHOOOD SOPHIE SHAW

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GIRLHOOD SOPHIE SHAW

A CHAT WITH CHRIS OLSEN JOY CHEN + TIFFANY HUE

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A CHAT WITH CHRIS OLSEN

Creative Director: Joy Chen | Editor-in-Chief: Tiffany Hue | Hair and Make-Up: Skyla Swafford Stylist: Lynn Aiko | Behind-The-Photographers: Lillie Yazdi + Nick Brogdon Set Desginer: Charles Tran | PA: Megha Gupta

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A CHAT WITH CHRIS OLSEN JOY CHEN + TIFFANY HUE

A CHAT WITH CHRIS OLSEN JOY CHEN + TIFFANY HUE

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“What brought life to the shoot was, unmistakably, Olsen himself.”

There are few people in the world who can match the joyous luminosity of spring, and we were lucky to find someone who exudes that exact energy. Striding confidently through a studio in DTLA is actor and digital creator Chris Olsen, whose undeniable charisma bleeds through the walls. You may know him from his worldwide coffee runs or from his comedic videos alongside his Lola, and wherever this familiarity comes from, your introduction to Chris Olsen was undeniably presented with a smile on your face from his humorous content and lovable personality.

A CHAT WITH CHRIS OLSEN JOY CHEN + TIFFANY HUE

Captivating the room with a sunkissed glow, Olsen has spent the last two years making a name for himself as an artist. Olsen graced the elegant photo studio with his natural glamour and alluring personality. What brought life to the shoot was, unmistakably, Olsen himself. Hailing from Maryland, the East Coast native is trailblazing a new path worldwide for young queer AAPI creatives like himself. If there is one thing Olsen does best, it is being his authentic self. When the Boston Conservatory graduate reflects on his beginnings as a content creator, he speaks his truth. “There has been a big shift with TikTok becoming the predominant social media platform at this point, and being fake doesn’t bode very well on the app,” he says of the goals of his platform. “People who are connecting the most with their audiences have the most real content, and you can see yourself in them.” There is a certain fluorescence that dazzles Olsen as he speaks about what makes a great content creator, and given his recent successes online and in real life, we cannot help but recognize him as one of the leading creatives of our generation.

A CHAT WITH CHRIS OLSEN JOY CHEN + TIFFANY HUE

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“Over the past year, Olsen has elevated mental health advocacy to the top of his platform, and his past experiences have allowed him to be an outspoken leader for this community.”

If anyone knows Olsen, they know of his incessant love for coffee. It is difficult to find him out and about without an iced vanilla latte in hand.“I’m always doing coffee runs in my content, so I’m really excited to explore launching my own coffee brand later in this year,” Olsen says with a smile. “I just want to continue doing really exciting things around coffee because it’s something I’m super passionate about, and I think that’s what also remains important to me––continuing to drive home the projects that I’m passionate about.”

However, iced coffees and musical theatre are not the only things that make Olsen who he is.

“There were two things that happened in my life where I had no idea what was going to come next: getting sober, and then the breakup.” Over the past year, Olsen has elevated mental health advocacy to the top of his platform, and his past experiences have allowed him to be an outspoken leader for this community. “When I got sober, I just couldn’t imagine what life was going to be like after.” And in spite of these fears, Olsen was able to rebuild a life and receive a degree in something he loved; what came next was finding a future with what he had made for himself. But following the breakup, Olsen was challenged with the daunting task of rebuilding his brand without the relationship for which people recognized him. “I was making a decision that would better myself, and I just had to see what would come from it.” They say that grass is always greener on the other side, and the fears that drove Olsen’s future certainly planted seeds of success.

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A CHAT WITH CHRIS OLSEN JOY CHEN + TIFFANY HUE

A CHAT WITH CHRIS OLSEN JOY CHEN + TIFFANY HUE

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“Olsen’s viewers are able to come together and not only find solace in his content, but also find themselves in his content.”

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The Filipino American actor hopes to be the change that is a part of the industry’s transformation into a new form of media, one that elevates representation and untold stories. “In society, the pendulum is shifting, and I hope to be a part of that transformation. I don’t shy away from my queerness, and that’s something I wish I could tell my past self. Growing up, I was told to fit a different idea than what was my truth,” shares Olsen as he reflects on his past. With his newfound voice in the industry, he learned to embrace his differences–that is, those that make him unique.

“My adulthood has been trying to unlearn all the encouragement to conceal my true self, and I now lean very far into the things that make me who I am. It’s healing to people.” Throughout his creative journey, Olsen learned to tap into what set him apart from others and to use these attributes to push his creative metamorphosis to the next level.

Despite all of his accomplishments, perhaps one of the most integral parts of Olsen’s metamorphosis as a creator has been his humility. After just two years of creating content beloved by social media users, Olsen was invited to host the Oscar’s Red Carpet Experience in partnership with The Academy. “Going to the Oscars is something my childhood self would have only dreamed of. Being able to share these experiences with my audience helps me build the community I want to create.” Because his content features real-life interactions his audience can relate to, Olsen’s viewers are able to come together and not only find solace in his content, but also find themselves in his content. “In a way, bringing people along on social media demystifies the journey. To let them know that we’re not alone in the end anyone no matter what.”

While his upbringing certainly shaped his metamorphosis into who he is today, his journey is just getting started. This June, Olsen is set to have his television debut in Discovery+’s The Book of Queer as Epaminondas, where he will be gracing both our mobile and television screens. He is also set to star in 1660 Vine, an indie musical feature film directed by Patricia McGregor. With all things considered, the true metamorphosis of Chris Olsen has only just begun, and we cannot wait to see where he goes next.

A CHAT WITH CHRIS OLSEN JOY CHEN + TIFFANY HUE

A CHAT WITH CHRIS OLSEN JOY CHEN + TIFFANY HUE

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A CHAT WITH CHRIS OLSEN JOY CHEN + TIFFANY HUE

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Flat Adornments SEY YANG

FLAT ADORNMENTS SEY YANG

Tattoo culture has transformed a lot in the past decade, and Los Angeles is a key place that has witnessed these changes. These photographs are part of an ongoing series aiming to capture the growing fabric of primarily queer female tattoo artists who come from unconventional tattooing backgrounds.

Commonly denounced as “scratchers” by traditionalists, self-taught tattooers like Shari Wei (@ catnip_farmer), Ash (@p0melow), and Nikol Safronova (@tat.boo) have shifted the practice from walk-in tattoo parlors to appointments based on the artist’s own personal flash designs, often for display on social media; the result is a tightly-knit creative community with highly stylized tattoos catering to an alternate audience not present within traditional tattoo culture. Through giving and receiving tattoos, artists like them visually translate the niches they occupy onto skin, adorning their unique fashion styles and identities alike.

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FLAT ADORNMENTS SEY YANG

FLAT ADORNMENTS SEY YANG

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FLAT ADORNMENTS SEY YANG

FLAT ADORNMENTS SEY YANG

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FLAT ADORNMENTS SEY YANG

AN INTERVIEW WITH TINA LEUNG TIFFANY HUE + JOY CHEN

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Tina Leung

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AN INTERVIEW WITH TINA LEUNG TIFFANY HUE + JOY CHEN

AN INTERVIEW WITH TINA LEUNG TIFFANY HUE + JOY CHEN

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The bustling streets of New York City become a runway for stylist and fashion creative Tina Leung.

The Hong Kong native grew up with an eclectic interest in fashion, and her interests became a reality when she took a leap of faith and moved halfway across the world to pursue her creative endeavors.

“My work ethic came from Hong Kong, but it’s hard to pinpoint one source of inspiration for my style because I travel so much,” Leung shares about her upbringing. “I just absorb things from people everywhere like a sponge.”

There is no doubt that Leung’s mind is made up of an amalgamation of artistic visions given her success in the creative world. However, her journey to the top was not always smooth sailing. “My parents were fine with whatever I was studying as long as there was a diploma,” but Leung had to confront her own challenges in taking a leap of faith toward her future. Even today, the creative world is stigmatized as a genuine pursuit, but it is thanks to trailblazers like Leung who have paved the way for young Asian creatives to build futures for themselves.

AN INTERVIEW WITH TINA LEUNG TIFFANY HUE + JOY CHEN

“There is no doubt that Leung’s mind is made up of an amalgamation of artistic visions given her success in the creative world.”

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AN INTERVIEW WITH TINA LEUNG TIFFANY HUE + JOY CHEN

“As long as we follow our gut and we follow our passion, it will work out. I believe that.”

Leung’s humble beginnings began in 2004, when she landed her first job at a fashion magazine.

From there, she built her platform and eventually made a name in blogging long before the concept of influencer ever came about. In 2008, she launched her blog Tina Loves, where she shared candid stories of her work at shoots, fittings, and fashion weeks. Her site eventually grew larger than life, and her insight on fashion shaped her into one of our generation’s original influencers. “I didn’t really mean for this to happen,” Leung says from her studio in New York City. “As long as we follow our gut and we follow our passion, it will work out. I believe that.” Because of her dedication to her craft, Leung was acknowledged on the BoF 500 list, one of the industry’s most revered indexes of professionals shaping the fashion industry, hand-selected by the editors of The Business of Fashion.

But with great success comes a schedule of constant travel and work. In the midst of her endeavors, Leung eventually built a community she soon looked to for solace. Just last year, Leung joined a multitude of other New York-based Asian creatives such as Nepali American designer Prabal Gurung, who runs his eponymous luxury fashion label, Korean American designer Laura Kim, co-creative director of Oscar de la Renta and co-founder of MONSE Maison, Chinese American designer Phillip Lim, owner and designer of his eponymous luxury fashion brand, and Ezra J. William, Indonesian socialite, to cultivate the group known as the Slaysians. “Honestly, it feels like home to me. People who understand my craziness whenever and wherever,” Leung says with a contagious smile. “Home doesn’t have to be a physical place. It’s something that makes you feel connected to your heart.”

The metamorphosis that brought Leung to her current self was a journey of self-discovery. “Everyone likes to put people in different boxes, but my main challenge growing up was being my own biggest critic.” But as we have seen with her climb to success, it is this self-awareness that elevates her art to a new level. Whether it is on social media or through her styling work, Leung’s legacy is admirable in all sorts, and we cannot wait for the future of her work.

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AN INTERVIEW WITH TINA LEUNG TIFFANY HUE + JOY CHEN

NERI OXMAN: LIQUID ALCHEMIST LILY GLANTZ + VANESSA NGUYEN

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NERI OXMAN:

LIQUID ALCHEMIST

“Through her use of synthetic biology to imitate nature, Oxman operates at the intersection between the conflicting synthetic, man-made aspects of our world and the original, natural landscape.”

In her 2014 collection titled Wanderers, Oxman takes viewers on an intergalactic journey, exploring the depths of the uninhabitable, hostile landscapes of outer space. Composed of four different

NERI OXMAN: LIQUID ALCHEMIST LILY GLANTZ + VANESSA NGUYEN

Striking neon hues, an alien-like imitation of organic life forms, and a dash of futurism characterize Neri Oxman’s revolutionary work. Her visionary design is rooted in her desire to marry modern manufacturing techniques with her deep reverence and admiration for nature.

Wielding her background in architecture, Oxman engineers wearables that possess the ability to grow and respond to environmental stimuli. Through her use of synthetic biology to imitate nature, Oxman operates at the intersection between the conflicting synthetic, man-made aspects of our world and the original, natural landscape.

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NERI OXMAN: LIQUID ALCHEMIST LILY GLANTZ + VANESSA NGUYEN

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wearables, each piece in the collection was crafted with a specific destination in mind. Oxman begins the journey by taking viewers to the closest luminary to earth.

Named Qamar, the Arabic word for Luna, the corresponding wearable for the moon is a shadowy gray, devoid of color. However, it is also sometimes pictured as if it is bright orange and red, perhaps mirroring how the moon naturally reflects the sun’s light.

The numerous, interconnected folds on the surface of the wearable serve a dual purpose; aesthetically, the highly textured surface mimics the cratered surface of the moon, while functionally, it contains pods that purify the outside air, transmuting it into breathable oxygen. Placed strategically over the lungs and around the neck and shoulders, this wearable is meant to function as an additive to the human body, and as an extension of the lungs.

Oxman continues this journey of the solar system by gifting viewers with the wearable Otaared, which is Arabic for Mercury. Blueishgreen, the wearable is embedded with bacteria that transmutes calcium into bone structures, growing outward in wave-like shapes from the sternum towards the head.

The resulting bone structure surrounds the head on both sides, protecting the wearer from the “mercurial” nature of the planet: one that experiences constant bombardment because it lacks an atmosphere. The protective exoskeleton flares out from the shoulders, bearing a strong resemblance to wings. This, in conjunction with the wearer’s body, forms the shape of the caduceus, a symbol of both the Roman god after which the planet is named, as well as magic and alchemy.

Oxman’s use of this symbol illustrates her belief that synthetic biology is a sort of liquid alchemy, as living organisms can easily transform one compound into another, as if by magic.

It is through her creation of Jupiter’s wearable that Oxman seeks to emulate this natural alchemical magic. Dubbed Mushtari, Arabic for “huge giant,” its resemblance

to the human digestive tract is instantly recognizable. Oxman created a single channel that twists and turns around the human body, while simultaneously housing both E. coli and cyanobacteria, creating a never-before-seen relationship between the two. Oxman not only takes inspiration from the functions of the human body, but other processes present within nature as well, like photosynthesis. While E. coli captures light and makes sugar, the cyanobacteria utilize those to create biofilms, which are beneficial to human life. This engineered adaptation relies on both transformation and symbiotic relations to allow the human body to survive in a previously uninhabitable environment, suggesting that coexistence and the ability to transform are central to survival, and by extension, life.

The last destination for this journey is Saturn, and its corresponding wearable has been dubbed Zuhal. Blueish-green with hints of yellow, the wearable is a collection of overlapping, interconnected swirls. Zuhal wraps around the upper body of the wearer, similarly to how a corset would, and is perhaps the most striking. On the chest area are two dominant swirls, spinning in opposite directions, bearing a strong resemblance to Saturn’s vortexes. Composed of a multitude of intricately placed layers, Zuhal has a large amount of surface area. It is upon closer inspection that the viewer realizes that its shiny surface is actually textured. This fibrous surface is filled with bacteria that are designed to change organic material into edible compounds. These bacteria predominantly work with hydrocarbons as their starting material, as they are the most abundant on the Saturnian moon, Titan, making this wearable customized to this planet.

Oxman’s creation of wearables that alchemically convert unfavorable elements into ones that can sustain life shows her tendency to draw inspiration from nature. It is this, coupled with Oxman’s ingenious use of synthetic biology that illustrates the possibility of using man-made manufacturing to cocreate with nature, and how transformation is essential to life.

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NERI OXMAN: LIQUID ALCHEMIST LILY GLANTZ + VANESSA NGUYEN

TRADITIONAL TEXTILES AND THE COST OF CHANGE: GLOBAL TRADE IN MYANMAR ERIN YEH + NICK BROGDON

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ERIN YEH + NICK BROGDON

TRADITIONAL TEXTILES AND THE COST OF CHANGE: GLOBAL TRADE IN Myanmar

From labor-intensive woven textiles with vibrant colors and horizontal patterns to garment factoryproduced H&M t-shirts, Myanmar’s present-day garment and textile industry displays a precarious juxtaposition of traditional practices and foreign direct investment. After the introduction of foreign firms in the late twentieth century, the garment sector became Myanmar’s leading export industry, ushering in job opportunities and economic growth.

Yet as the transition to manufacturing has expanded the country’s economic capacity, its openness to trade has simultaneously led to pressures on local weaving practices as foreign competitors produce replicas of traditional textiles. As Myanmar’s garment and textile industry has metamorphosed over the past century, the ever-present pressures of globalization threaten the current existence of traditional weaving practices that are simultaneously reliant on global trade.

The origins of garment production in Myanmar boast a rich indigenous cultural history that has been passed down through generations. While Myanmar’s various ethnic groups practice distinct traditional weaving processes, each is time-intensive

and woven with cultural history. The prosperity of traditional weaving practices dates as far back as the ninth century through artifacts depicting intricate designs. Since the nineteenth century, luntaya acheik, the shuttle-woven indigenous textile, gained popularity with the establishment of local factories to expand production. Once reserved solely for royalty, luntaya acheik requires a time-consuming silk weaving process that makes the garments costly. Despite the expensive nature of the fabric, the intricate details and cultural significance create a demand for acheik designs among the public and a mandate for its preservation.

As the final decades of the twentieth century signaled major garment industry expansion for Myanmar, the state’s textile production became increasingly focused on export-oriented factories for multinational corporations. While global politics influenced—and continues to influence—national trade policies for garment manufacturing, low labor costs and favorable policies for foreign investment have made Myanmar an attractive sourcing destination. With economic openness, the exportoriented garment sector has the potential to sustain

Yet, with Myanmar’s cultural heritage woven into the threads of its textile industry, the metamorphosis of the garment industry threatens to encroach on the business of traditional weaving.

Processes of globalization assisting the development of Myanmar’s garment sector have dually encouraged trade relations with China and India, resulting in a double-edged sword of imports of necessary raw materials and low-cost, lowquality reproductions of traditional textiles. While weavers of traditional textiles are dependent on Chinese and Indian imports of thread, the same global interconnectedness places pressure on the time-intensive production of silk cloth in the Mandalay region. Business owners in Amarapura, a town known for silk weaving, will spend upwards of two weeks to generate traditional woven designs—whereas digital reproductions from China and India are mass-produced at a low price immediately after. Thus, a cultural practice revered for its handcrafted productions has been forced to consider sacrificing tradition to combat extinction as weavers face pressures to adopt new technologies to remain competitive. The confluence of Myanmar’s economic policies, global technological development and industry competition encourages the metamorphosis of a traditional craft, threatening the legacy of indigenous heritage.

In light of the intrusion of inexpensive reproductions of woven textiles, grassroots efforts have been formed to advocate for the persistence of traditional weaving. The Mandalay Weaving Business Association, formed in 2019 with a membership of almost 700 businesses, has pioneered the effort for state solutions to the culturally significant textile production. Highlighting the importance of developing local capacity for raw materials and interfacing with larger industry actors, the MWBA helps resist the transformative pressures of Myanmar’s garment and textile industry.

The metamorphosis of Myanmar’s garment and textile industry has provided opportunities for national economic growth at the cost of the centuries-old process involved in traditionally woven textiles. While globalization threatens the survival of traditional textiles in Myanmar, it is also responsible for the continued existence of weaving businesses and the country’s potential for future manufacturing sector development. However, technological advancement continues to pressure traditional craft workers to adapt to the increasingly rapid pace of production and consumption. Thus, the fashion industry should consider its role in acknowledging the cultural significance of traditionally produced textiles as it remains complicit in reproductions of indigenous designs beyond the scope of Myanmar’s luntaya acheik. As an industry reliant on global connectivity, fashion also holds the power to metamorphose—changing currently accepted practices of replicating designs to instead elevate and preserve cultural heritage.

TRADITIONAL TEXTILES AND THE COST OF CHANGE: GLOBAL TRADE IN MYANMAR ERIN YEH + NICK BROGDON

Myanmar’s current levels of GDP growth. Yet, with Myanmar’s cultural heritage woven into the threads of its textile industry, the metamorphosis of the garment industry threatens to encroach on the business of traditional weaving.

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CAITLIN CHEN + JUSTIN LEE

THE RED JUMPSUIT:

THE RED JUMPSUIT: A SYMBOL OF CONFORMITY AND REBELLION CAITLIN CHEN + JUSTIN LEE

A Symbol of Conformity and Rebellion

Within the last few years, the red jumpsuit has risen to prominence as a stark symbol of social divide seen in various films and television shows across the globe. The disconsolate and often polarizing tones of these sensational films and shows highlight the struggles each country faces, often critiquing a specific systemic disparity. It comes with little surprise that the inherently hierarchical nature of our society facilitates these tensions among social classes that are then reflected into “red jumpsuit” cinema through fashion. These shows have the potential to incite change by encouraging their audience to rethink how certain institutions enforce hierarchies and allow for rebellion.

In 2021, Squid Game, hailing from South Korea, revolved around players in significant financial debt competing to win 45.6 billion won; however, success comes at a cost as players are eliminated by death. Creator Hwang Dong-hyuk relies on costumes to highlight conformity and hierarchy.

The contestants all receive a number and don a teal green tracksuit, reducing their identity down to a singular number. The guards also maintain a level of anonymity, wearing red jumpsuits and black masks to conceal their humanity. In contrast to the green sweatsuit of the contestants, the red jumpsuit cannot be besmirched by blood; thus if a soldier was killed, there would be no significance to their death. The uniformity of the masks and

jumpsuits hides one’s individualism and regulates the soldiers’ agency by mandating conformity to a specific role.

Another international hit show, La Casa De Papel, or its English name Money Heist, additionally focuses on the socio-economic dynamics between the poor and rich with an elaborate heist in the Royal Mint of Spain. The costume throughout the series remains simple yet symbolic with the robbers wearing red jumpsuits and Salvador Dali masks. Dali was a Spanish surrealist artist whose polarizing rebellious political beliefs were often depicted in his artwork. Combined with the glaring rojo jumpsuit, reminiscent of the dramatic red cape seen during Spanish bullfighting, the costume is a political choice that objects to state corruption.

Within the television show, the public crowd supports the bandits by mimicking their costumes while a similar motif occurs in reality as demonstrated by several protests around the

Although Squid Game and La Casa De Papel both use a red jumpsuit and mask to establish conformity, each costume holds a distinct intention. In Squid Game, the costume hides one’s identity to exercise control over the masses whereas La Casa De Papel employs the strength of anonymity to unite against injustices.

The difference behind the meaning of each red jumpsuit demonstrates a true cohesion between the physicality of metamorphosis and change in agency. A physical transformation will inevitably impact one’s autonomy, but defining whether it’s a positive or detrimental transfiguration lies in the individuals’ choice to rise against or for the patriarchy.

Our obsession with these “red jumpsuits” shows lies in the parallels to the conflicts in the brutality of our reality. Whether it’s analyzing the inner workings and twisted savagery of classism or imagining magnanimous robbers uproot institutional corruption, these series are a reflection of our own lives—perhaps why we feel so connected to them. Through a psychological provocation in film, there is a real power to inspire widespread change, so that one day, action may metamorphose the fundamental roots of our society.

“A physical transformation will inevitably impact one’s autonomy, but defining whether it’s a positive or detrimental transfiguration lies in the individuals’ choice to rise against or for the patriarchy.”

THE RED JUMPSUIT: A SYMBOL OF CONFORMITY AND REBELLION CAITLIN CHEN + JUSTIN LEE

Squid Game executes a scathing critique of classism in South Korea. In this show, the VIPs, a group of old white men, wear gold-faceted animal masks and silk robes, physically partaking in an “Oriental” persona to exoticize Asian culture for their amusement. The use of costumes in Squid Game thus critiques the exploitative nature of class conflict as society uses division to determine one’s fate. A numbered contestant in a teal sweatsuit tethers at the edge of life and death, while a VIP wearing a jeweled mask merely cosplays the brutality of foreign culture. And woefully, a soldier in a red jumpsuit fears taking off his mask because straying from his assigned role comes at a deathly price. Since the jumpsuits metamorphose one’s appearance to create a blanket of anonymity, this social transformation allows for full authority and control by those in charge by taking away one’s individuality.

world using the show’s costumes as an antiauthoritarianism and anti-capitalism statement.

As the show critiques police and state corruption, what appears to be a simplistic red jumpsuit and mask allows everyone to participate in an act of righteous rebellion and social metamorphosis.

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THE RED JUMPSUIT: A SYMBOL OF CONFORMITY AND REBELLION CAITLIN CHEN + JUSTIN LEE

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THE RED JUMPSUIT: A SYMBOL OF CONFORMITY AND REBELLION CAITLIN CHEN + JUSTIN LEE

THE KEFFIYEH’S CULTURAL METAMORPHOSIS NATALIE SEMERSKY + ANUBHA GUPTA

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THE KEFFIY CULTURAL METAMOR NATALIE SEMERSKY + ANUBHA GUPTA

In Ancient Mesopotamia, priests and high-ranking officials initially wore the keffiyeh as a symbol of power. Its signature checkered pattern and usefulness as protection from the sun caused it to gain popularity, creating a signature look for Arabs in the Ancient Middle East. Its story then transformed through rebellions, social movements and Western media representation, causing the once merely practical garment to become an important political and social symbol. Throughout all transformations of the keffiyeh’s practical and symbolic use, it has maintained cultural meaning as a way for people to describe Arab heritage, fostering pride and unity

within the Palestinian and wider Arab cultures.

The keffiyeh is a garment originating in Sumer, also known as Mesopotamia, that was slowly adopted by wider society as peasants wore the headpiece to protect themselves from the harsh sun rays, dust and cold of the Ancient Middle East.

For centuries, the keffiyeh was purely a practical garment worn by travelers, farmers and merchants in rural communities. By the time most farmers were wearing keffiyehs for sun protection, the upper class stopped wearing the garment to distinguish themselves from the peasant class. Thus, the

garment’s initial symbolism was a way of creating class distinction. While the Keffiyeh was originally used to differentiate between groups of people, it would soon transform to become a symbol of unity.

The keffiyeh underwent its first metamorphosis during the Great Palestinian Revolt of 1936 as Palestinian Arabs fought for independence and harsher immigration policies for Jewish migrants.

In 1938, revolt leaders ordered that the keffiyeh be worn by Palestinian soldiers to create unity within the movement and blend in with locals when entering cities. By maintaining the same

design as the local Palestinian working class, the Keffiyeh’s function as a visual representation of social hierarchy ended. It instead united groups of Arabs who were proud to be part of the movement that the garment represented. The shifted popularity caused the Keffiyeh to be more common at all levels of society from the rural working class to powerful figures in the rebellion. While the keffiyeh was both useful and symbolic of this era of Palestinian revolution, its symbolic use only grew throughout the following decades.

In the 1960s and 1970s, the keffiyeh was worn

THE KEFFIYEH’S CULTURAL METAMORPHOSIS NATALIE SEMERSKY + ANUBHA GUPTA

YEH’S L RPHOSIS

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THE KEFFIYEH’S CULTURAL METAMORPHOSIS NATALIE SEMERSKY + ANUBHA GUPTA

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Throughout all transformations of the keffiyeh’s practical and symbolic use, it has maintained cultural meaning as a way for people to describe Arab heritage, fostering pride and unity within the Palestinian and wider Arab cultures. by prominent Palestinian politicians and leaders, some uniquely styling their headpieces and creating recognizable brands for their movements. The most influential person in this era of the keffiyeh was Palestinian Councilmember Yasser Arafat, who wore a fishnet-patterned keffiyeh with the scarf draped only over his right shoulder in a triangular shape.

This became a trademark of his political leadership, and Palestinian revolt supporters showed their solidarity by mimicking his style.

Khaled became an important figurehead in the Palestine revolt after spearheading hijackings on behalf of the Popular Front for the Liberation of Palestine (PFLP) Movement in the early 1970s.

The harsh terrorist action of the PFLP caused the keffiyeh to gain prominence in Western media, making it recognizable in cultures outside of the Middle East for the first time. As the world began to take more interest in the Israeli-Palestinian conflict, the keffiyeh represented Palestinian solidarity—but also terrorist efforts by more radical members of the movement.

Western media quickly adopted the keffiyeh as a symbol of Middle Eastern terrorism, causing prejudice toward Muslims wearing this traditional headpiece as public opinion was swayed.

Thus, the keffiyeh became stereotyped as a Muslim garment by Western society despite its practical origins.

While the meaning and use of the keffiyeh have metamorphosed multiple times in the past century, it has remained a powerful symbol of Arab heritage.

As country borders shift, social movements occur, technology advances and political figureheads change, the keffiyeh remains symbolic of the intricate past of Muslims in the Middle East.

The keffiyeh’s mainstream popularization and media recognition continue to grow, allowing the garment to persist as a piece with social, cultural and religious significance.

THE KEFFIYEH’S CULTURAL METAMORPHOSIS NATALIE SEMERSKY + ANUBHA GUPTA

As the keffiyeh retained its popularity into the end of the 20th century, women showed their solidarity by wearing this traditionally masculine garment.

Political leaders like Leila Khaled donned the same fishnet-patterned keffiyeh as Arafat, instead styling it like a hijab. By combining her symbolic support of Palestine with her religious expression, she allowed the keffiyeh to take on new meaning in addition to being a fashion statement. The garment’s popularization as a fashion statement and trend caused it to gain attention, fabricating longevity for the traditional garment and establishing a reminder of its historical and political significance in everyday society.

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THE TALE OF THE UGLY DUCKLING

THE TALE OF THE UGLY DUCKLING CHARLES TRAN

BY CHARLES TRAN

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THE TALE OF THE UGLY DUCKLING CHARLES TRAN

THE TALE OF THE UGLY DUCKLING CHARLES TRAN

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Hans Christian Andersen, Danish writer of renowned folklore, such as “The Little Mermaid,” also wrote the well-known fable of “The Ugly Duckling.” Unlike most princess tales that capture superficial appeal, “The Ugly Duckling,” conveys a thematic message focusing on inner beauty and manifesting this captivating graciousness outwards. Many media references in pop culture, such as “The Princess Diaries” to “Clueless,” reiterate this metamorphosing motif, as the main character undergoes a 360 transformation of their physical appearance, highlighting the extensive makeover from an “ugly duckling” to an alluring swan.

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While this displays the outward manifestation of one’s inner beauty, contemporary media triggers toxic obsessions over relentlessly improving physical appearance that becomes internalized. Media portraying this “ugly duckling” transformation through makeover montages essentially reflects the glamorized superficiality that echoes this persistent pressure to “glow up.”

Even after attaining physical perfection as a full-fledged swan, this only disguises remaining essences of past imperfections from ugliness as a duckling.

THE TALE OF THE UGLY DUCKLING CHARLES TRAN

In my portrayal, the model, NoelleJolie Tran, wears a self-sewn gown, in which white feathers comprise the upper corset and a silk skirt colored in a white to black ombre spans the lower bodice. A dainty gold necklace and tulle gloves accompany the handcrafted attire to accessorize and complete this purposeful look. Instead of embodying an ugly duckling or a captivating swan, she maintains both. In doing so, she epitomizes the metamorphosis itself, aligning with the intended message of Andersen’s tale, and not the misconstrued examples seen in media. She represents both the disgrace in ugliness and the divinity in beauty, as this dress reflects a universal sentiment that transformations retain and stem from remnants of the past-self.

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NÉHA GUPTA

The Stage is a Road Through Time

THE STAGE IS A ROAD THROUGH TIME NÉHA GUPTA

PHOTO SOURCE: TALE OF 2 BACKPACKERS, CENTER FOR WORLD MUSIC, THE STATESMAN, RAHUL PUTHOOR

Storytelling is a vital component of many ancient forms of Indian dance, forcing dancers to do more than perfect their technique–they must physically, mentally, and spiritually embody the characters they play. Whether it be a sage, deity, troublesome child, or animal, costume and makeup are key to the transformation.

Kathakali, a style of dance from the South Indian state of Kerala, is a prime example of a dance form that emphasizes wardrobe for a very literal physical transformation. Full wardrobe and makeup can take more than three hours to complete, and both are applied meticulously in three stages. Since Kathakali

dance is meant to reenact mythological tales, it’s essential that the audience feel like they are in the stories themselves. Dancers cover their faces in colors that symbolize character traits they seek to embody: green indicates noble gods, red markings represent violently ambitious royalty, yellowish-orange indicates gentle sages, messengers, and women–which allows the audience to forget that their friends and neighbors are behind each character.

Chhau, from Eastern India, is another form of dance that involves major alterations in physical appearance. Two of the three styles of Chhau require dancers to wear elaborately crafted masks. The boundary between dancers and

“The boundary between dancers and their masks disappears during performances as they transform into characters–gods and goddesses, warlords, animals and monsters– from their childhood stories.” their masks disappears during performances as they transform into characters–gods and goddesses, warlords, animals and monsters– from their childhood stories. The complete commitment to one’s role has been essential not only to dance, but also to theater all over the world. Paintings of ancient Greek theater show that actors in performance were drawn as though their masks were their faces rather than a wardrobe accessory, only in pre or post-show scenes were they shown holding masks in their hands. This demonstrates how important it was for actors to melt into the roles they were given in order to preserve the stories they told.

In addition to honoring the stories that the dance seeks to depict, many dancers enjoy the ability to escape into their characters as an oasis amid their daily grind. Chhau is now on the list of UNESCO’s established world heritage dances; the traditions of these dance forms have survived for centuries because of the feeling of revival and passion dancers’ excellent metamorphosis evokes in the audience and themselves.

Although dance forms such as Odissi are rooted in tradition, the metamorphosis they allow performers to undergo when becoming a character is a departure from traditional cultural beliefs surrounding gender norms. In this way, dance allows performers to transcend the ideals that society deems acceptable. On the stage, male and female dancers are applauded for their ability to flow between roles and characters of alternate genders via their fluid costuming.

Offstage, however, gender roles are much less lenient, and clothing worn is expected to conform to societal norms. For example, a man wearing a traditional saree will likely face judgment from those around him. Indian classical dance is much more than an aesthetic expression, its (perhaps unintentional) facilitation of gender fluidity and change makes it even more unique when juxtaposed with the social atmosphere of many parts of India.

Indian dance is not just about the metamorphosis of the dancer, but that of the audience as well. In classical forms such as Odissi, a dancer’s goal in many pieces is to transport the audience to a state of blissful absorption through elaborate footwork, expressions, and spirituality. A performance commonly ends with a dance movement called Moksha, in which the dancer expresses a rebirth of the soul through turns that transform her costume into a whirlwind accompanied by the hypnotizing chime of ghungroo, bands of bells worn around the ankles.

Ghungroo are an integral piece of wardrobe, their musicality being crucial to uniting the dancer’s and audience’s journey to renewal.

We think of dance as movement through space and time across a stage. Through a blend of dance, act and wardrobe, artists of Indian classical forms move not only across a stage, but also through kingdoms, eras, legends and beliefs.

THE STAGE IS A ROAD THROUGH TIME NÉHA GUPTA

In Odissi, a form of classical dance from the East Indian state of Odisha, both male and female dancers depict stories by adopting the roles of mythical figures and deities as well as village folk, maidens, kings and queens. Similar to ancient Greek theater where one actor would take the form of multiple characters with the help of costume and masks, Odissi dancers shapeshift into a range of characters over the span of one performance. In one scene of a dance drama, you might see a man with exaggerated makeup and jewelry playing the role of a goddess, while in the next piece a female dancer painted in blue struts onstage with a peacock feather on her head and a flute, portraying the likeness of the Hindu god Krishna. Props, makeup, costume, and mannerisms blur the lines between male and female gender roles, and there is no shame in assuming the identity of one or the other.

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THIS IS DISCO DECORUM JORDAN MULA + BRIAN NGUYEN

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DIS

SCO

THIS IS DISCO DECORUM JORDAN MULA + BRIAN NGUYEN

THIS IS DISCO DECORUM

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THIS IS DISCO DECORUM JORDAN MULA + BRIAN NGUYEN

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Beneath the glow of mirror balls, the disco club scene emerged as the 1960s and 1970s birthed a renewed atmosphere of unapologetic selfexpression. In these New York City nightclubs, disco reflected underground society’s departure from the traditional male-female partnership as individuals were able to more publicly dance with whomever they wished. Entrenched in glitter, disco culture, a mark of the Gay Liberation Movement, refused both straight and gay normative concepts… which undoubtedly resulted in a considerable amount of sex. There was sex in the bathrooms and the stairwells, accompanied by a flurry of cocaine strewn about the stone vanities.

Yet, these underground punk dives were not simply hubs for drugs and promiscuous activity–

these nightclubs were a place where the most audacious could transcend beyond traditional gender norms of how men and women were supposed to behave and dress.

The eccentricity of the 1970s brought forth more breakthroughs for gay rights than ever before.

Pioneered by the Stonewall generation, states were repealing sodomy laws, cities were adopting civil rights protections for gay people, and presidential candidates were publicly endorsing gay rights.

Until 1971, it was illegal in New York City for men to dance with one another. This new form of disco dancing encouraged society to dance in crowds rather than in couples and in the midst of this progress, disco culture spurred an era of nonconformity for fashion.

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Androgynous fashion was elevated to luxury when Yves Saint Laurent further blended feminine and masculine elements in his designs. He introduced the Reefer Jacket in 1962, the Sheer Blouse in 1966, and the Jumpsuit in 1968, all of which permitted women to dress more masculinely.

However, his most notable and controversial androgynous design was Le Smoking Tuxedo, which debuted in the summer of 1966 as part of his A/W 66/67 Haute Couture collection. Inspired by a gentleman’s smoking jacket, this was the first high-end tuxedo intentionally made for women.

It was exquisitely both masculine and feminine, consisting of a cleanly cut classic black jacket and trousers in grain de poudre, and a high waisted version wrapped around a ruffled white organdy blouse. Notably, Saint Laurent’s tuxedo is not a replica of a man’s tuxedo, rather, it is adapted to the female body. He then reinvented the signature silhouette hundreds of times, from trenches to cleaner folds to pinstripes. An emblem of the decade’s fashion is Nicaraguan actress and human rights activist Bianca Jagger, who defined the androgynous glitz and glamor of 70s disco. She herself wore the Yves Saint Laurent’s column skirt and Le Smoking Jacket when she was wedded to Mick Jagger in 1971 which was certainly a symbolic departure from the traditional wedding dress.

As gender norms continued to collapse, crossdressing was introduced through the realm of disco. New York City’s notorious nightclub, Studio 54, was a sanctum for drag queens, gay people, and transgender communities. Lissa Rivera, curator for the Museum of Sex’s Night Fever exhibit, explained “[i]n a sense, they were making it so that normal or ‘vanilla’ people weren’t allowed in and the most extravagant people were.” The disco era, ushering in gender experimentation, marked the fusion between gay activism and culture. The Stonewall Riots of 1969, where gay men took a collective stand against police brutality, were the foundation of a sexual revolution that eventually morphed into this ever-flourescent disco fever.

THIS IS DISCO DECORUM JORDAN MULA + BRIAN NGUYEN

The Gay Liberation movement infused men’s fashion with feminity, blurring the lines of gender as this decade questioned what it meant to dress like a woman or to dress like a man. There were skin-tight bell-bottom jeans, vibrant blazers, slinky blouses, and flowing folds of ultrasuede and cashmere– and it didn’t matter if you were a woman or a man or somewhere in between.

In a way, the movement gave weight to the words of queer voices and in return, so-called ‘normal’ people en masse became inspired to reject conventional gender division in mainstream fashion. With the newfound freedom of being able to kiss whomever, regardless of status or class or gender, people began to dress in ways that more accurately reflected their sexualities. Disco nightclubs were a safe space for these people to showcase their flamboyant outfits without fear of mockery. After all, it was the ones who didn’t go all out who were mocked for being boring. What a catastrophe it is to be boring in art? Eventually,

the clubs began to play music produced by gay and black men as the culture began to enfold androgynous fashion. The boutiques along London’s Carnaby street began stocking genderneutral, colorful, patterned shirts reminiscent of the clubbing silhouettes.

POWER + FEMINITY: FEMALE METAMORPHOSES IN WWE JULIETTE CORNET + PAIGE BRUNSON

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POWER & Feminity: Female METAMORPHOSES IN World WRESTLING ENTERTAINMENT JULIETTE CORNET + PAIGE BRUNSON

In the realm of competitive sports, the style of clothing worn by athletes is at most an afterthought, with comfort and practicality valued above all else. However, in the world of entertainment wrestling, wardrobe and costume mean everything. World Wrestling Entertainment, more commonly known as WWE, has made a name for itself because of the sport’s focus on providing unabashed entertainment value. Besides glorifying violence, the appeal of “entertainment sports” lies in the completely over-the-top costumes worn by the performers. Wardrobe plays a critical role in creating the persona of the fighter, metamorphosing these athletes into glamorous villains and fierce ragdolls. Costumes in wrestling might seem ridiculous to those unfamiliar with the sport but flamboyant wardrobes have a longstanding heritage in Mexican Lucha Libre.

The purpose of their wardrobe is two-fold. First, the costumes allow men to transform from mere mortals into fierce luchadores to intimate the competition. Secondly, watching men in ridiculous costumes throw each other around a ring is undeniably entertaining making it one of the most popular sports in Mexico. The signature colorful masks, spandex and fiery personalities of Lucha Libre, are the roots of the full face of makeup, animal-print spandex and leather harnesses that define WWE.

Despite its rich roots, like most sports, wrestling has a long history of excluding women. However, with entertainment value as its priority, WWE quickly realized that putting bikini-clad women in a ring with the intention of beating the daylights out of each other skyrocketed their ratings. While this finally allowed women to break through the glass ceiling of sport, they found themselves stuck in a cycle of sexualization. Women weren’t being recognized for their prowess and strength in the ring but for just how small their triangle top bikinis could get without having a nip-slip during a fight.

Women wrestlers were quickly being defined as primarily skinny, skimpy and white due to WWE’s influence on the sport. This sexist, racist and fatphobic narrative was only furthered by the notorious Divas of the 1990s. Known as the female performers of the WWE, Divas were only representative of the tiny, toned athlete. Larger women with powerful bodies who would no doubt dominate in a sport like wrestling were entirely excluded from the WWE. The Divas segment felt more like a twisted beauty pageant that provided a breather between the male division fights targeted toward the primarily male audience of the sport.

Come the 2000s, a slow shift in the world of women’s wrestling began to occur. As wrestling progressed to be more inclusive towards women, the typical string bikini toting models have been replaced with genuine female athletes. No longer wanting to be known as simply eye candy on the sidelines, women wrestlers gained recognition not only for their looks but for the crazy stunts they could perform during fights. Naturally, as the difficulty of the stunts evolved, so did the body of a typical female wrestler. Women wrestlers were slowly being valued for what their bodies could do versus how pleasing they were to the eye.

Ultimately, bigger women with more muscle mass and strength began to dominate the ring.

This transition also sparked a change in the style of wardrobe. Female wrestlers have strayed away from the Playboy bunny embossed bikinis and leather panty sets towards costumes that flattered the muscled build of larger female athletes. Some of the biggest names in WWE wrestling today– Asuka, Ember Moon and Ruby Riot–have traded out bikinis for more functional and flattering sports bras and spandex that allow them to move easily while also showing off their washboard abs. Nia Jax, another big wrestler in the industry, is often seen sporting a black and purple catsuit when in the ring. While the costumes have become more functional and universally flattering, they also still leave a lot of room for glamor.

Female wrestlers might have said goodbye to pure skimpiness but they haven’t forgotten the flamboyance.

Rhinestones, bright colors, animal prints, dramatic capes and leathers are still very much a part of the typical female costume. The new costumes demonstrate that strength in a woman doesn’t take away from femininity.

Metamorphosis has always played an important role in wrestling by allowing athletes to transform into performers. However, it looks like the world of WWE is growing in more ways than one by proving that power, glamor and femininity are not and will never be exclusive when it comes to female athletes.

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POWER + FEMINITY: FEMALE METAMORPHOSES IN WWE JULIETTE CORNET + PAIGE BRUNSON

Wrestling has a long history of excluding women.

Women’s wrestling was more known for bedazzled lingerie than for the impressive athleticism and stunt work of the male division.

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Stills MAYA GEE-LIM

The genesis of every piece of clothing is an idea manifested in a sketch. The transition from a concept to a sketch, to a pattern, to a prototype, to an actual piece of clothing is a cycle that each garment goes through before being available to be purchased by consumers. This photo montage, which can be made into your own flipbook, is an homage to turning concepts into material reality. Every garment, no matter how complex, can be traced back to paper via the sketches and pattern pieces that preceded it. I was, in part, inspired by the recent rise in small businesses, where individuals take every part of the design, creation, and production process into their own hands, making everything from scratch.

STILLS MAYA GEE-LIM

The format of the flipbook captures a brief moment of transformation. The origin of flipbooks can be found in early animation. For instance, the device known as the zoetrope creates the illusion of motion by allowing sequential images to be shown in rapid succession. Flipbooks work in much the same way.

These first forms of moving imagery predated/were the precursors to modern-day movies.

By using scissors to cut on the dotted lines and stapling the frames together in order, you can make your very own flipbook. Or, if you don’t have access to a stapler, you can simply hold the pages of the flipbook in your left hand and flip through them with your right hand. This flipbook allows the viewer to be a more active participant in the cycle of fashion. I hope it encourages you to consider your role as a consumer in the fashion cycle, and in the life of your clothing both before and after it comes into your possession. I also hope to encourage you to think about excess and waste, and where it will end up in a couple of years.

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STILLS MAYA GEE-LIM

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THE IN BETWEEN MIKAYLA LOBASSO

The In Between

DO YOU EVER FIND YOURSELF TRYING TO FAST FORWARD TO THE BIG MOMENTS? TO THE CLIMAX OF YOUR MOVIE? I CAN NEVER SIT STILL. I ACT LIKE LIFE IS ONLY MADE UP OF THE BIG MOMENTS. BUT IT’S NOT. IT IS THE SMALL, SEEMINGLY INSIGNIFICANT ONES. THE PROCESS, THE IN-BETWEEN, THE METAMORPHOSIS.

IN FASHION, ART, DESIGN, AND EVERYTHING ELSE, I NEVER FEEL FULLY SATISFIED. I’M CONSTANTLY WAITING FOR THAT AH-HA, THAT HUGE MOMENT WITH FIREWORKS GOING OFF IN THE BACK, AND MAYBE IT WILL COME, MAYBE IT WON’T. BUT THE JOY AND APPRECIATION COME WHEN I FALL IN LOVE WITH THE IN-BETWEEN.

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THE IN BETWEEN MIKAYLA LOBASSO

THE IN BETWEEN MIKAYLA LOBASSO

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THE IN BETWEEN MIKAYLA LOBASSO

THANK YOU

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META SAYS: THANK YOU

THANK YOU MERCI XIÈ XIÈ BEDANKT SALAMAT KIITOS DANKE SCHÖN MAHALO IĀ ‘OE TERIMA KASIH GRAZIE ARIGATŌ GAMSA HAEYO GRATIAS TIBI TEŞEKKÜRLER ASANTE

THANK YOU Thank you for exploring the metamorphoses of the world with us. As an independent publication, our editorial would not be possible without all your incredible support, and the work that has been made by our team and shared by our audiences has allowed us to grow into creatives we are proud to be today.

Whether you are an original reader from our earlier issues or you are just starting as a reader, thank you for supporting our metamorphosis into the future.

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To our staff–thank you for being the best team we could ask for. Together, we have been through thick and thin, and it is with all your skill and talent that we were able to cultivate a publication that exhibits such artistry and talent.

As Issue 06: METAMORPHOSIS celebrates the experiences that define how we continue to grow, a new era marking the beginning of the future of META. Thank you to everyone who has helped our dreams come true. It is only with our collective spirit that we can continue to operate as a publication dedicated to making our voices heard.

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THANK YOU