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Volume 6 | Issue 3
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editorial EDITOR-IN-CHIEF Alana Valko CREATIVE DIRECTOR Kenzie King FEATURES EDITOR Sophie Cloherty PRINT FASHION EDITORS Nick Farrugia Jenny Ruan DIGITAL FASHION EDITOR Alexa DeFord DESIGN EDITORS Mackenzie Schwedt Manda Villarreal PRINT PHOTO EDITORS Katie Corbett Evan Parness DIGITAL PHOTO EDITOR Francesca Romano STREET STYLE EDITOR Lucy Carpenter MANAGING PHOTO EDITOR Natalie Guisinger
business PUBLISHER Claire Dickerson ACCOUNTS DIRECTOR Colleen Jones MARKETING DIRECTOR Molly Shulan FINANCE COORDINATORS Kate Burns Drisha Gwalani EVENTS COORDINATORS Paige Dobies Courtney O’Beirne OUTREACH COORDINATOR Ellery Benson
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SHEI /’sh(ay)/ Magazine was founded in 1999 as an Asian Pop Culture Magazine and became affiliated with University of Michigan Student Publications in 2013. Our Digital Magazine, known as SHIFT at the time, was launched in 2015. Since then, SHEI has grown to campus wide recognition as a publication that students can come to for fashion, art, and culture commentary and inspiration.
who’s on staff?
contributing members DIRECTORS Anthony Huynh Hannah Leonard Karly Madey Juan Marquez Jacob Ward Megan Young STYLISTS Isabelle Fisher Tavleen Gill Anastasia Hernando Amreen Kanwal Krit Kosoltrakul Helen Krushinski Karly Madey Claire Manor Lily Marks Neil Nautiyal Quinn Riley Jasmine Smith Katy Trame Dhruv Verma Caroline White Abby Ziemkowski WRITERS Lauren Champlin Ben Decker Heba Malik Lily Marks
PHOTOGRAPHERS Alex Andersen Monica Babits Blake Borgeson Gabby Ceritano Kris Cho Nicole Kim Michelle Lin Heba Malik Juan Marquez Gwen McCartney Emma McKillip Dana Papandreadis Robina Rranza Eva Russa Rita Vega Fern Vichaikul Alvin Yao VIDEOGRAPHERS Noelle Broussard Lauren Day Miranda Felty Francisca Lee GRAPHIC DESIGNERS Dana Dean Julia Dean Maddie Fox Tung Tung Lin Carly Lucas Halley Luby Gabi Mechaber Yuki Obayashi
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in this issue
MASTHEAD LETTER F CO INTI COT
04 FROM THE EDITOR 10 OZY MAXIMALISM 12 MY DREAM HYGGE INTERIOR 18 IMACY 22 BODY POLITICS 32 RUSTIC DREAM 36 TTAGE CORE 44 WOODSHOP KNITS 48 SIMPLIFYING STYLE 60 RÉFLECHIR 64 ONION 70
letter from the editor
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I might just be saying this because I am sitting in front of a warm fire with my family for Thanksgiving, but I felt at home reading this issue. The theme of this issue is hygge, which if you caught trending words in 2016, you know is a Danish word relating to coziness and comfort. The proper pronunciation is hoo-gah, but feel free to say it in your head anyway you like. We decided to bring it back for the sentiments we feel around the holidays, particularly in November. Maybe it’s cliché to relate hygge to the holidays, but it’s hard not to when we are surrounded by tradition and comfort. Thanksgiving itself is a pretty problematic holiday. In-between turkey feasts and after-dinner naps, we’ve sprinkled in paper-mache headdresses of cultural appropriation. We have written elaborate myths to grade schoolers about an amicable feast between the Pilgrims and the Wampanoag people. In favor of our own needs for colonialism, our neglect towards Native Americans has led to a mass-cultural event completely isolated from a contextually accurate history. I struggle celebrating Thanksgiving knowing about the social implications and exploitation my history textbooks did not teach me. I struggle accepting a holiday I know so well to be filled with gratitude and thanks, when dark realities of death and conquest remain forgotten.
Still, Thanksgiving might be the singular time of the year that I actually name out what I am grateful for. I would like to think that I am grateful regularly, and I tell myself I am, but it is not until this day each year that I, and many of us, reflect on the gifts we have and the presence of those around us. To me, hygge takes the idea of Thanksgiving and sews it into the fabric of our lives. I like to think of it as an alternative to a rather questionable tradition, and an idea that can be celebrated not just once, but everyday. Hygge suggests to be unified with those around us, to be warm and empathetic, and to be present. It tells us to slow down and be mindful of what we have, and infuses itself as an everyday mindset rather than an isolated event. Many of our members interpret hygge quite literally. You will see a lot of knit sweaters, cotton beanies, and traditional conceptions of coziness in this issue. Hygge does not have to be all definitions of cozy, but I hope hygge for you still embodies the feeling of a warm fire and the people you love. Hygge for me is my three fluffy dogs and ambient lighting, but it is also the company I keep and the mindset I establish. I hope that we can go into the new decade with a little less rush, a little more empathy for ourselves, and a renewed appreciation for those around us. This issue is just a start.
Alana Valko Editor-In-Chief
cozy maximalism DIRECTOR MEGAN YOUNG STYLISTS ISABELLE FISHER CAROLINE WHITE PHOTOGRAPHERS MONICA BABITS EMMA MCKILLIP EVA RUSSA VIDEOGRAPHER LAUREN DAY GRAPHIC DESIGNER MANDA VILLARREAL MODELS IAN BELL MONICA IYER
MY DREAM It is interesting to consider how space can subconsciously affect our moods. There are psychological reasons for how space and colors help us achieve a sense of peace, or even a sense of chaos when we need it. When I walk into a room, I often feel calmed by blues, greens, and purples, colors that easily harmonize with each other and are associated with serenity. My dream room makes me feel comfortable and at peace with myself. Natural light shines through the windows, uplifting my spirit. The bed is relatively low to the ground and it is made with a fluffy white comforter. There are cozy cream colored pillows and the bed is in a corner of the room, with the two walls on the head and side of the bed providing a sense of shelter. All walls are cream colored except for the wall to the left of me, which is painted a dark teal, my favorite color. Against this teal wall is a white wooden desk, which is a home
for floral scented candles. A couch lines the third cream colored wall and on it is a large knotted blanket, my favorite one that smells like my childhood home. Above the couch is a large picture of a sunflower against a blue sky. A chair hangs from the ceiling by a long cord and swings back and forth, adding serenity and relaxation. This is my dream room, the place where I feel the most “hygge.” The Danish term “hygge—” pronounced hue-gah—is hard to define as it can embody anything from a lifestyle to a feeling of nostalgia to personal intimacy to interior design. Lexico Dictionary defines hygge as: “a quality of cosiness and comfortable conviviality that engenders a feeling of contentment or well-being (regarded as a defining characteristic of Danish culture).” Hygge House, a forum created in order to bring more awareness of the concept of hygge, explains that the Dan-
M HYGGE INTERIOR ish practice “only requires consciousness, a certain slowness, and the ability to not just be present – but recognize and enjoy the present. That’s why so many people distill ‘hygge’ down to being a ‘feeling’ – because if you don’t feel hygge, you probably aren’t using the word right.” This “feeling” helps lead a lifestyle filled with, more or less, five main features: comfort, companionship, relaxation, connection to nature, and simplicity. I have tried to channel these ideas into my own life. As the dark winter creeps up on Ann Arbor and the days become shorter, life has felt increasingly mundane. My days don’t allow me to express nearly as much passion for the world as I would like, and my friendships can sometimes feel shallow as we often forget to pause and spend important quality time with one another amidst our busy schedules. In an effort to take charge of our happi-
ness, my friend Anna and I planned a Sunday night gathering with a group of friends complete with poetry readings, art-sharing, food, wine, relaxing music, and quality time without phones. We decorated the place with fabrics and muted tones, lit lots of candles, and placed blankets on the floor in order to make everybody feel welcome and comfortable. This event encompassed the essence of hygge in both its execution and deeper purpose. We recognized that we weren’t enjoying the present enough, and made a conscious change. Certain spatial elements of a room can be considered hygge. Hygge brings people together into inviting and intimate spaces. Establishing a living space that feels peaceful and communal is essential to achieving true hygge. Personal touches are crucial. Each part of my ideal room can be broken down and analyzed as contributing to
the room’s overall feeling of hygge. Natural light streaming through the windows is a reminder to experience life, to be present, and to accept the world’s invitation to explore and adventure. Practicing hygge does not mean remaining confined to the indoors, but rather the term urges us to celebrate all parts of life in a multitude of settings. Danish interior design generally focuses on light as much as possible, whether it be natural or artificial light. Light makes spaces seem more expansive, and when paired with the white wooden floor of my dream room, it will make the room feel inviting and sunny no matter the season. White colors encourage bright spaces since light can bounce off of white surfaces to make the surroundings brighter. This room feature is important as it relates to hygge, which was developed as a way to find posi-
WRITER LILY MARKS GRAPHIC DESIGNER HALLEY LUBY
tivity in mundane, dark and cold Scandanavian winter months that can drag on with no end. Attention to details like color, balance, texture, smell, and physical comfort are all important in hygge. In my dream room, the teal aspects of the sunflower portrait are balance the opposite teal wall. The knitted blankets imbue the space with a certain coziness. The candles that adorn the white wooden desk smell floral to evoke subtle botanical hints, which ties in themes of nature and openness. While hygge might not include a particular color palette, it tends to err on the side of minimalism and/or muted tone hues. Most aspects of my dream room are cream colored, such as my bedding, pillows, other walls, and floors, since cream is a neutral and calming tone. I also included the color teal. Teal is found in abundance in nature, the color
draws me in because it makes me feel safe and at home as I often do when I am in the natural world. In psychology and color theory, teal can symbolize mental and spiritual balance and is often found in nature. According to Color Psychology, teal combines blue’s “tranquil stability” with green’s “healing properties.” The color also adds a personal touch to the room since teal is my favorite color and further affirms that the space is mine. There are endless ways to design a hygge room and practice a hygge lifestyle in a unique way. Hygge design does not conform to specific criteria necessarily, but is best conveyed in a room that feels inviting, cozy, conducive to fostering intimate personal relationships.
Intimacy
DIRECTER HANNAH LEONARD STYLISTS TAVLEEN GILL AMREEN KANWAL QUINN RILEY PHOTOGRAPHERS GABBY CERITANO HEBA MALIK ALVIN YAO VIDEOGRAPHERS MIRANDA FELTY GRAPHIC DESIGNER JULIA DEAN MODELS SAMANTHA REDLICH SOPHIE THURSCHWELL
White Coat Chloe Stora Brown Jacket Thrifted Tan Boots Doc Martens Black Boots Blundstone
Tan Striped Turtle Neck Crossroads Gold Hoops Madewell
Brown Corduroy Pants Urban Outfitters Tweed Pants Thrifted White Turtle Neck ASOS
Body Politics She gazes up to me with the same curious brown eyes–one eyebrow tipped higher than the other. I cock my head to the left and inch closer. She does the same. Hot air fills the space, leaving traces of condensation on the mirror that separates us. I breathe out, and as the fog clears, the familiar bridge of her nose emerges. A finger grazes up to my forehead, gently tracing the path down her nose and to my slightly parted lips. That space between this reflection and I was once an inky black abyss saturated with thoughts of a smaller nose–one that was petite and unimposing–and thoughts of straighter teeth or a better smile. Standing on the edge of that abyss, however, I wore blinders; I could not see the millions of other people standing beside me staring at the same abyss with hot tears in their eyes, enveloped in their unhappiness. The modern body positivity movement emerged to unify us, to assure us that others also felt our insecurities. We could reach out and find another hand frantically searching for ours. The movement promised that all were beautiful, regardless of skin color, wrinkles, cellulite, size, and scars.
WRITER HEBA MALIK GRAPHIC DESIGNER CARLY LUCAS
What began as an empowering movement, however, has morphed into an elaborate corporate ploy. One of the first brands to capitalize on this movement, Aerie, launched a campaign #AerieREAL that vowed to cease retouching their models and to include models of all sizes in their campaigns. Yet, halting the practice of retouching photos does not necessarily improve consumer self-image. It does, however, improve sales. In fact, for the lingerie brand Aerie, according to a 2016 Business Insider article, for the first quarter of fiscal 2016, company sales increased by 32% compared to a sales increase of 12% in the first quarter of fiscal 2015. All Aerie accomplished through this so-called radical campaign was to create a new aesthetic, founded in a concept of relatability to which very few can relate. We often praise models who post photos of their one fat-roll, but subconsciously fatshame women with more than one. Aerie– and campaigns like it–still hire traditionally beautifully models with traditionally accepted sizes. Even when women of all sizes are featured in advertisements, the company itself might not have those sizes in store–
or even in stock. They merely profit off the aesthetic of body positivity without putting it into practice. Everlane, an up-and-coming clothing brand, recently launched a new underwear line with a plus-size model as its poster child despite not selling actual plus-size underwear. How can we believe that all sizes are beautiful if companies only see the value of bigger women as models and not as consumers? It is not enough to include fat women in campaigns to make us suddenly accept ourselves and accept others. We must question the very culture, policies, and attitudes that created this phenomenon of self-hatred and shaming in the first place. We forget that this body acceptance movement had its genesis in something radical and fringe. Modern attitudes regarding our bodies are socially constructed. The views themselves, however, are rooted in a positive grammar regarding equal rights, representation, and treatment defined long ago. The fat acceptance movement of the sixties was a war against the diet industry, one that was marked by public anti-discrimination and anti-capitalist advocacy. Fat people–then and
now–are denied treatment for the number on the scale, when for most weight is not the problem. Having a certain body type, argues an informative article on body positivity published by Vox, “makes you more likely to die an early and unnecessarily painful death that will be blamed on you before your body is even cold, so I’m not sure why it’s so mystifying and dismaying to the world at large that people in those bodies might not think much of themselves.” It is understandable, then, that the revolutionary idea of “body positivity” solidified itself as a tenet of the fat acceptance movement because to accept and love a body that is perpetually criticized and discriminated against is the most subversive act of all. Furthermore, if this movement were truly about acceptance and love, we would see male-centered campaigns undergo the same change. The only mainstream company that has done so is American Eagle, but the company posed the campaign as an April Fool’s joke. Aerie launched an #AerieMan underwear campaign for the holiday season that was beautiful in its inclusivity, but then later released a statement stating that it was a parody of their female #AerieREAL
campaign. How can a company that prides itself on fueling a body positive movement turn around and poke fun at men who want the same thing? I cannot deny that this self-love phenomenon is a step in the right direction, but it is a step through thick and stiff mud. It is a carefully curated tactic to profit from our insecurities under a persuasive lens of acceptance. We see it in the way models are dubbed plussize as opposed to fat as though the word itself would be a turn-off for corporate America. The word plus-size is palatable; the word fat is not. So, how can we combat this commodification of the body acceptance movement? How can we take it back from brands and corporations? How can we love ourselves on our own terms? Let us recognize that the body that corporations attempt to sell us is not our own, and it does not have to be. Let us form communities of real and true acceptance. Let the mirror that separates us be the very thing that unites us.
SHOOT DIRECTOR KARLY MADEY STYLISTS KARLY MADEY CLAIRE MANOR PHOTOGRAPHERS ALEX ANDERSEN DANA PAPANDREADIS GRAPHIC DESIGNER DANA DEAN MODELS BROOKE RINGLER STEPHANIE SHOO SEAN SINKO
Rustic Dreams
Denim Flannel Urban Outfitters Blue Stripped Pants Urban Outfitters Overalls Tommy Hilfiger Sweater with strings ASOS Mustard Hat Champion Tan Jacket Verbena
Overall Dress Jwoyueh Black Sweater Tiger Mist White Sweater Tiger Mist
Glasses Amazon Black Hat Forever 21
Cottage Core I was on Tumblr scrolling through cat pictures. While searching, I stumbled upon this account that had cats posing with farm animals outside. I immediately fell in love. I searched more and found that the account participated in an entire community called Cottage Core. This community had everything, from pictures of picnics to embroidery art. However, the thing that interested me the most was the fashion the accounts displayed. Cottage core, sometimes called grandma core, is heavily inspired by the late nineteenth century. Think of it in terms of a modernized Little House on the Prairie. Most of the time, the clothing is vintage or has designs from past decades, which is something that I love. I often go to thrift stores looking specifically for vintage sweaters and shirts. I have lost count of how many oversized wool sweaters I have bought; however, my favorite is embroidered with two red cardinals sitting on a tree in winter. I am not ashamed to admit that I do wear this Christmas themed sweater out of season, anytime it drops under sixty degrees is an excuse for me to put it on. The most popular pattern for this aesthetic is gingham, which has similar designs to that of the classic picnic blanket. Other common motifs include plaid and floral patterns. The ultimate crown jewel of cottage core fashion are those things your grandma has knit for you, like scarves, blankets, and sweaters. The clothing is magical, whimsical, and flowy. It is meant to remind us of how those imaged “cottage people� lived in the past— in those remote, friendly villages filled with sheep. These people had carefree lives before all the political drama and other plagues in our world. The clothes are meant to bring about the same sense of calmness and nostalgia. For me, it
harks back to times when I went searching for wildflowers in a field with my mom or fed goats out of my hand at Yates Cider Mill every autumn. Cottage core has been inching its way to the mainstream. Gucci has just recently used the aesthetic in their recent campaign for their new fragrance, Mémoire D’Une Odeur. The campaign features Harry Styles in a floral shirt, sitting outside at a picnic with four other women dressed in cottage clothing that make up his free-spirited family. Alessandro Michele, Gucci’s creative director, describes this perfume on Gucci’s press release something “that even with your eyes closed, brings you to a precise moment in space and time.”¹ Mémoire D’Une Odeur and cottage clothing both have these in common, as they allow the user to dictate their experience while wearing them, whether it is nostalgic or peaceful. Michele also condensed the entire theme of the campaign into one word: freedom. This is Gucci’s first perfume that has no intended gender audience and it is free from all social restrictions, which are central themes to cottage living/ fashion. Cottage core is all about being comfortable in your clothes, whether it is a male wearing a dress or a purse. The main purpose is to be calm, which is what Gucci is trying to draw in their campaign. By adopting this aesthetic, it tells the consumers that anyone can have this fragrance, everyone deserves to have this sense of calmness that they are selling, Cottage core is not just about wearing this clothing, but what you do while wearing it. We all participate in activities that are claimed by cot-
tage core, like going on a picnic with your friends, picking wildflowers, or collecting strawberries to make your own jam. The fashion aspect and the lifestyle aspect go hand in hand. For me, cottage core is something that I embrace most when I’m with my grandma the most—-When we sit outside, embroidering our fabric with thread and crocheting hats for the winter. When I look at cottage core posts online, it transports me back to those four months of summer between highschool and college, when you hung out with your friends everyday and had no worries except about eating too much ice cream. It places me in a dream in which I am having a picnic on the top of a mountain with my best friends listening to Lana Del Rey. When I participate in cottage core I feel a similar warmth to the one I feel when I go back home to my cat after a long day. He is there, sitting on the bed waiting to cuddle me. Whenever I am having a stressful day, I like to go online and scroll through cottage core feeds to escape reality, even if it is only for a few minutes. ¹ https://www.gucci.com/us/en/pr/beauty/ fragrances/fragrances-for-women/gucci-memoire-dune-odeur-60ml-eau-de-parfum-p-589190999990099
WRITER BEN DECKER PHOTOGRAPHERS RITA VEGA FERN VICHAIKUL GRAPHIC DESIGNER MADDIE FOX
WOODSHO
DIRECTOR ANTHONY HUYNH STYLISTS ANASTASIA HERNANDO NEIL NAUTIYAL JASMINE SMITH ABBY ZIEMKOWSKI PHOTOGRAPHERS JUAN MARQUEZ GWEN MCCARTNEY RITA VEGA MAKEUP ARTIST YOUMNA KHAN VIDEOGRAPHER FRANCISCA LEE GRAPHIC DESIGNER MACKENZIE SCHWEDT MODELS CAMILLE BURKE EVAN HAMMON MELANIE LUCIA
OP KNITS
Scarf Ac
cne Studios
Sneakers Golf Le Fleur
Simplifiying
ST I entered college with grand ideas about the incredible depth of knowledge I would gain— the worldview-changing classes I would take, the intelligent people I would encounter, the amount of Shakespeare, Hemingway, and Dickenson I would bury my nose in every night. However, I found myself struggling with the idea and pressure of cultivating an original writing style. My set of expectations about college made my first meeting with a Sweetland Writing advisor all the more confusing when my main takeaway from our discussion was to never underestimate octopuses. How am I to create work that is original when every topic and theme feels overdone? Where do I turn to for inspiration when every source appears to have been bled dry? These are the questions I sought advice on, and in return, I was asked a question myself. Why isn’t the experience and knowledge you already have enough inspiration? In thinking about writing styles and how to
TYLE develop my own, I was asked to question my idea of style itself, and inevitably, this led me to thinking about fashion. How do the individual pieces in our wardrobes collectively work together to reflect a sense of our identity and style? The capsule wardrobe, an idea based on minimalist fashion aesthetics and ideologies, has seen a recent rebirth in an era often defined by minimal and conscious consumption. Although presently experiencing a rapid rise in popularity, the capsule wardrobe is not simply a passing fad, but a trend dating back as early as the seventies. Coined by Susie Faux, owner of a clothing boutique called Wardrobe in London, the term capsule wardrobe stemmed from Faux’s background in and around the fashion world. Raised in a family of tailors, Faux was taught early-on that well-fitting clothing can make
you look good and, in turn, feel good. Her primary mission was to help women develop their style and confidence. For her, these two concepts go hand in hand. In her book Wardrobe, Faux states the purpose of creating a capsule wardrobe: “By building a capsule wardrobe you will buy fewer clothes of a higher quality that you will wear more often. You will look and feel confident and successful because the quality will show and because you know that the overall look works.” Although there were no strict rules about what the capsule wardrobe should look like, the concept was designed specifically with the business woman in mind. Faux wanted to create more than a style rulebook for women. The idea was not to administer further guidelines to the way women were supposed to dress, restricting and suppressing their own personal sense of style. Instead, Faux wanted to popularize the concept that any woman could look professional and feel confident at
STYL work with a few core pieces in her wardrobe. According to Faux, “the principle is that less is more so really what you’re trying to do is to make the most of your budget to create a working wardrobe.” The capsule wardrobe was brought from the UK to the US in the eighties by designer Donna Karan. Inspired by the contemporary career woman, Karan created her Seven Easy Pieces line. The star piece of this line and runway show was a simple black bodysuit. During the show, models progressively added more pieces to complete the outfits. With an easy addition of a wrap skirt, pants, a tailored jacket, sweaters, scarves, and chunky gold jewelry, the foundational black bodysuit could be reimagined to create a multitude of different looks.
In an age of fast consumption that can feel overwhelming, it is no surprise why many people are embracing the comfort of capsule wardrobes. Cutting down the time it takes to put together outfits in the morning leaves more time and energy to put towards other factors of health and wellness that are often neglected. Cultivating a capsule wardrobe does not have to mean buying a brand new set of basics. It can also mean paring down your existing wardrobe to the select pieces you love, value, and reach for the most. By thinking mindfully about our clothing consumption, we can foster a mindset of appreciation that stems outwards into other parts of our lives, into more than just our wardrobes.
LE My newfound understanding of the ideologies behind the capsule wardrobe came to reflect new developments in the way I understand my own writing style. Along with eight arms, an octopus has threehearts and nine brains. The arms work independently of each other, yet together toward the same goal. When one fails, they can always rely on another. I took this piece of advice from a writing advisor, as coded as it seemed, as a prompt for understanding that the source of my inspiration could be, and needed to be, myself. Through my lived experiences, through the books I read and the music I listen to, I already know what writing works for me, what styles fit me. Although harbored independently and drawn from separate sources, my inspirations
culminate in my writing, each evident in different aspects of my work. Writing is not always a matter of creating something totally new to be my own, but is instead about curating and reimagining the pieces that make me up. Writing doesn’t need to be overcomplicated and neither do our closets. Nor, apparently, does our completely deserved respect for octopuses.
WRITER LAUREN CHAMPLIN GRAPHIC DESIGNER YUKI OBAYASHI
DIRECTOR JACOB WARD STYLISTS KRIT KOSOLTRAKUL HELEN KRUSHINSKI PHOTOGRAPHERS KRIS CHO MICHELLE LIN VIDEOGRAPHER NOELLE BROUSSARD GRAPHIC DESIGNER TUNG TUNG LIN MODELS HELEN KRUSHINSKI
RÉFLECHIR
Red Sweater Ralph Lauren
Blue Flannel Goodwill
Pants Our Legacy
Corduroy Jacket Our Legacy
DIRECTOR JUAN MARQUEZ STYLISTS LILY MARKS KATY TRAME DHRUV VERMA PHOTOGRAPHERS BLAKE BORGESON NICOLE KIM ROBINA RRANZA GRAPHIC DESIGNER GABI MECHABER MODELS JACK BOWMAN LUC LE PORTIER ADAM UDOVICH
White Fur Coat Forever 21 Blue Quilted Pants Converse x Perks and Mini Printed Blue Shirt The Get Up Purple Sweater Ambush
Tan Hoodie Puma x Fenty Blue and Purple Pants North Face Tan Jacket Blair Shirt Robina Rranza Yellow Button Down Collusion
Yellow Zip Beanie A Cold Wall Pink Beanie Forever 21
Orange Trenchcoat New York and Co
Green Purse Unif Pale Green Pants Nike Neon Beanie Dolls Kill Green Jacket Thrifted
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