SHIFT MAGAZINE Issue 3//Vol. 2 by SHEI Magazine

DECEMBER 2015

VOLUME 2 // ISSUE 3

SHIFT ROOTS

SHEI MAGAZINE’s Digital Mini-Mag

SHIFT

MAGAZINE

EDITOR-IN-CHIEF Shannon King CREATIVE DIRECTOR Aaron Pelo

FEATURES EDITOR Lauren Guldan

FASHION EDITORS Sola Muno Zach Witford

DESIGN EDITORS Lexie Johnson Morgan Lovay

PHOTO EDITORS Melissa Freeland Rachel Beglin Courtney Evans

DIGITAL CONTENT DIRECTOR Alex Holmes DIGITAL FEATURES Lauren Guldan

DIGITAL FASHION Mackenzie Kimball

DIGITAL DESIGN Haley Fox

DIGITAL PHOTO Brady Mathieson

VIDEO EDITOR Christina Oh

PUBLISHER Samantha Zwick EXECUTIVE MARKETING DIRECTOR Olivia Cottrell

EXECUTIVE ACCOUNTS DIRECTOR Kirsten Ho

ADVERTISING Kassie Wallace

DISTRIBUTION Amber Lam Jessi Chudler

FINANCE Colleen Natzke

OUTREACH Maddy Moog

EVENTS Karen Bates

SOCIAL MEDIA Sylvia Sankaran

Our mission is to inform, inspire and engage deeply with the University of Michigan campus community at the intersection of student and professional life within the fashion industry. SHIFT is intended to provide a marketable media platform for students to push the boundaries of what has traditionally been possible within print without compromising the level of quality associated with the SHEI brand.

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L E T T E R F R O M T H E E D I TO R

SEEDS OF CHANGE

A point of origin, a life-giving force, a home, an identity, a shared past. Roots take shape as all of the above.

n this issue of SHIFT, we dug deep to uncover the varied meanings of roots, from home to history. Practical Magic explores human roots in the natural world and their subsequent turn to the artificial. Tropes from childhood appear in Child’s Play, defining roots chronologically. Geographically, some find comfort in the physical and familial roots in a certain hometown. You’ll see this concept of place at the root of individual identity in Meet America. And we didn’t neglect our own geographic roots in Ann Arbor. You’ll find a University of Michigan student who has created an online platform for college-aged voices in this month’s Radar, a local restaurant review, and a recap of student music group Gravity Club’s performance at the Blind Pig – as much an Ann Arbor institution as the university. We also sat down with Victoria Henley, a former contestant on America’s Next Top Model, to talk about her own hometown connection and staying grounded in a world of constant new projects, social media demands, and reality TV. From features on plant-based foods to the history of fashion, this issue is overflowing with the intersections of “roots” and our own lives. We hope you’re inspired to....

SHEI MAGAZINE’s Digital Mini-Mag

SHIFT MAGAZINE

SHEI MAGAZINEâ&#x20AC;&#x2122;S DIGITAL MINI CONTRIBUTORS

FASHION torin rittenburg aishu chandrakanthan christiane suzuki mackenzie kimball

caitlyn liao

sybil macdonald

sabrina zayec

tasha lin

adithi reddi

kate johnson

isabelle genshaft

debbie cheng

amily yang

mara moldovan

hannah wasserman

simone pierce

bailey jenkins

maggie mcmillin

louise barnard

dan immatteo

andrew gretkierewiz

tabassum mohibi

LITERATURE merin mcdivitt

lauren diamon

natalie sheerer

madison baker

jayne jaeger

torin rittenburg

PHOTOGRAPHERS tina yu

lori rasmussen

kristen eisenhauer moona lee

rebecca deitch

gewn mckee

zoe byun

melissa freeland

coutrney evans

shannon mares

brian beckwith

rebecca rudma

katherine raymond

sophie wang

olivia mezaros nicholas williams

DESIGN tara lewis

jacklyn thomas

olivia choi

simone pierce

emma patterson

MODELS susanna fisenkova zinny weli

soniea tagari

charlotte feldman

sybil macdonald

skylar garrett

audrey schaefer

lilly lee

tinsley stokes

denero

daran razdar

dan immatteo

isabelle genshaft

edward nunoo

SHIFT MAGAZINE is published monthly by SHEI MAGAZINE, 420 MAYNARD ST, ANN ARBOR, MI. SHEI MAGAZINE is a subsidiary of the Office of Student Publications and a registered orginizationat the University of Michigan. COPYRIGHT 2015 by SHEI MAGAZINE. All right reserved by SHEI Magazine. Reproduction without permission is prohibited. To place an Ad, please contact our publisher, Samantha Zwik, at publisher@sheimagazine.com

SHEI MAGAZINE OFFICE OF STUDENT PUBLICATIONS 420 Maynard St, Ann Arbor, MI 48104

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IN THIS ISSUE ABOUT THE COVER:

Hometown Glory // This shoot explores the impact of home on personal style. Students on campus with roots in different places around the country (and the world) model everyday looks and share their style icons. Whether in harmony with or rebellion against the style tropes of their hometowns, their looks are rooted in place.

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MASTHEAD

LETTER FROM THE EDITORS

CONTRIBUTORS

MUSIC & CULTURE

RADAR: JACKSON HOWARD

PLANT BIASED

THE FRUGAL FOODIE: KATOI

SMELLS LIKE TEEN SOMETHING

FOR ALL MANKIND

THE EVOLUTION OF FASHION WITH STATIC IDEALS

CHILD’S PLAY

MEET AMERICA

MODEL, MOGUL, MENTOR: CATCHING UP WITH VICTORIA HENLY

PRACTICAL MAGIC

Celebrating the release of their first album, local band The Gravity Club hits the Blind Pig for a release show. Meet the man in charge of the art deco digital zine, Not Mad.

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M U S I C & C U LT U R E

CELEBRATNG THE ALBUM DEBUT FOR ANN ARBOR’S OWN

ALBUM DEBUT FOR ANN ARBOR’S OWN

Gravity Club

he Blind Pig isn’t known for being a quiet venue, yet on a Wednesday night in early November, the normally loud, boisterous venue is dead silent. Actually, it was just as wild as ever until a moment earlier when the opener, Kylee Phillips, a young woman with a powerful voice, told the crowd that the Gravity Club he Blind Pig isn’t known for being a quiet venue, yet was finally coming on stage. Through two warm-up acts, both on a Wednesday night in early November, the normally very talented, the crowd has drank, shouted at one another over loud, boisterous venue is dead silent. Actually, it was the music, and laughed noisily. But this news has finally shut them just as wild as ever until a moment earlier when the opener, up, if only for a moment. Kylee Phillips, a young woman with a powerful voice, told As everyone waits in quiet anticipation, the band climbs onstage. the crowd that the Gravity Club was finally coming on stage. After a brief set-up, they start in with their introduction, sort of the Through two warm-up acts, both very talented, the crowd indie folk equivalent of an overture. The sound of their instruments has drank, shouted at one another over the music, and melds together in a gorgeous harmony that sets the bar for the rest laughed noisily. But this news has finally shut them up, if of the night; the smooth soprano sax somehow blends seamlessly only for a moment. with the violin’s melody with the deep, sweet undercurrent of bass As everyone waits in quiet anticipation, the band climbs and guitar flowing beneath it all. The crowd exhales. onstage. After a brief set-up, they start in with their But fewer than 24 hours earlier, when SHIFT checked in with the introduction, sort of the indie folk equivalent of an overture. Gravity Club from their final practice before the concert, things The sound of their instruments melds together in a gorgeous weren’t quite as polished. Lovely sounds emit from a brightly lit harmony that sets the bar for the rest of the night; the practice room in the Music School. Then they stop. Then start smooth soprano sax somehow blends seamlessly with the again. Then stop. Bassist Karl Heitman starts playing, then Avery violin’s melody with the deep, sweet undercurrent of bass Bruni joins him on violin. Everything is great. Guitarist and singer and guitar flowing beneath it all. The crowd exhales. Jake LeMond comes in after a moment, joined by Joe May on sax. But fewer than 24 hours earlier, when SHIFT checked Their drummer, Todd Watts, is out of town. It seems like they’re

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close to something great. But after a minute, they cut it off. That’s perfectionism for you. “We’re trying to combine all our songs and instruments into one,” they explained. Sounds easy, right? While any last-minute practice before a big show is hectic, to say the least, the band seems remarkably composed. But there’s a sense of anticipation in the air, combined with both nervousness in with the Gravity Club from their final practice before the and exhaustion. “I’ve been dying,” Bruni said. After all, they did concert, things weren’t quite as polished. Lovely sounds just finish editing their album. Bruni, who did all the editing over emit from a brightly lit practice room in the Music School. the course of many a late night, wants a two-week break. Then they stop. Then start again. Then stop. Bassist Karl But this album, “A Faint Impression,” has been a long time Heitman starts playing, then Avery Bruni joins him on violin. coming. After playing together for years, recording several tracks Everything is great. Guitarist and singer Jake LeMond for Soundcloud, and recording a music video with SHIFT last comes in after a moment, joined by Joe May on sax. Their winter, the Gravity Club was finally ready to take the next step. drummer, Todd Watts, is out of town. It seems like they’re In early 2015 they made an informal agreement with Empty Mug close to something great. But after a minute, they cut it Records, the new university organization dedicated to promoting off. That’s perfectionism for you. “We’re trying to combine local music. Though nothing was cut and dry, they decided to all our songs and instruments into one,” they explained. take the leap and start recording. “Basically we were operating on Sounds easy, right? the honor system for six months,” May explained. But still, it was While any last-minute practice before a big show is hectic, helpful to have a distinct goal to work towards. “We set the release to say the least, the band seems remarkably composed. date before we were even done,” he added. “Our band functions But there’s a sense of anticipation in the air, combined with on deadlines.” both nervousness and exhaustion. “I’ve been dying,” Bruni The band continued recording throughout this fall, and their said. After all, they did just finish editing their album. Bruni, commitment finally paid off when they officially signed with who did all the editing over the course of many a late night, Empty Mug in late September. To be precise, on the “day of the wants a two-week break. supermoon,” as the band helpfully pointed out. Now that the

But this album, “A Faint Impression,” has been a long time coming. After playing together for years, recording several tracks for Soundcloud, and recording a music video with SHIFT last winter, the Gravity Club was finally ready to take the next step. In early 2015 they made an informal agreement with Empty Mug Records, the new university organization dedicated to promoting local music. Though nothing was cut and dry, they decided to take the leap and start recording. “Basically we were operating on the honor system for six months,” May explained. But still, it was helpful to have a distinct goal to work towards. “We set the release date before we were even done,” he added. “Our band functions on deadlines.” The band continued recording throughout this fall, and their commitment finally paid off when they officially signed with Empty Mug in late September. To be precise, on the “day of the supermoon,” as the band helpfully pointed out. Now that the partnership is on paper, Empty Mug provides them with support, publicity--the whole shebang. They connected the

band with album artwork and printed the album itself, along with merchandise and promotional materials. When SHIFT sees them at this final practice, the Gravity Club hasn’t even seen a physical copy of their own album yet. “I’ve been in bands since I was 17,” LeMond said. “And I’ve never released anything.” But along with this excitement comes a whole new level of expectation and uncertainty. Focused on the next day’s concert, the band expressed both confidence and misgivings. This is their first headline show--they are the main event at a major venue, something every band dreams of. Yet at that point, they have no idea how many people will show up on a cold Wednesday night to come see them. The excitement was prolonged despite the uncertainty of the evening. “We’re gonna sound the best we’ve ever sounded,” LeMond said. “This is kind of a big show for us.” Flash forward a night, back to the Blind Pig, and these worries dissipate. The turnout is great, and the band, as they hoped, really does sound as good as it ever has. It was

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The Gravity Club’s new album, “A Faint Impression” is now availble for streaming and purchase on their Bandcamp, Soundcloud, and iTunes.

an unforgettable live debut that speaks well for the success of the album. But the question remains: what next? After working towards a distant, concrete goal for so long, what happens once it has been achieved? “I’m going to Disneyworld,” Heitman joked. “Actually, we’re probably just gonna go to bed.” After all, with all the whirlwind of the past few weeks, anyone would need a break. At the same time though, there is more pressure than ever to push the album while it is still fresh in people’s minds. “Because we’ve just released it, it’s almost like there’s a deadline to promote it,” May explained. The group needs to take advantage of the momentum they have now to get more exposure online, play more live shows, and get more airtime on local radio. The end goal is simple for now: getting their music to reach as many people as possible and hoping that it will have a desirable impact. As the guys have watched their friends’ high school and college bands fall apart, they’ve become more convinced than ever of their own commitment to music. “This isn’t just about us getting together and hanging out,” May said. “We’re motivated and goal-oriented; we really want to make something of ourselves through the Gravity Club.” This has always been a serious venture, one that they hope will help them develop careers in this rewarding, tough field they love. “So hopefully, this album will open doors,” LeMond said. And if it doesn’t? He laughs. “Then... at least we can use it to pick the lock.” WRITTEN BY MERIN MCDIVITT PHOTOS BY MELISSA FREELAND

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facebook.com/thegravityclubmusic soundcloud.com/thegravityclubmusic thegravityclub.bandcamp.com

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RADAR JAC KSON HOWARD

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n November of 2014, Jackson Howard published his site’s most widely read and acclaimed piece to date from the colorful city and spiritual capital of India, Varanasi. At the time Howard was bedridden after losing 25 pounds from contracting E. Coli; however, he managed to feebly traverse to and from the Internet café in order to successfully publish his groundbreaking interview with forgotten hip hop protégé, Hitman. Howard is the co-founder and EditorIn-Chief of Not Mad, a student-run digital magazine that discusses art, music, culture, personal narratives, and social change. The publication caters to collegeaged students, and in a broader sense, the entire millennial generation. “The thing that really drives me to do it is that it feels like for kids our age there is such a heavy sense of irony and embarrassment in outwardly claiming things we are passionate about,” Howard said. For this reason, he and his partner Rio did not want to create a “nihilistic, pessimistic cultural criticism,” but rather sought to provide a platform through which young

adults can genuinely explore their interests and discuss the issues that are salient to people of that generation. Howard and his partner pride themselves on their success in establishing a distinct and expressive voice that permeates throughout the content. Even in the beginning stages when they were desperate for content, they fought to maintain a quippy, clever, genuine voice that also embraces their youthful naiveté. “Keeping a strong voice that’s unrelenting and unbending to popular pressure, economic interests, or the desire to have more content is at the root of all of it,” Howard said. Not Mad has transformed from a small project where Howard and his partner churned out all the content into a literary community with a “revolving door” of 45 contributors that range from close friends to professional freelance journalists with impressive resumes (think New York Magazine and Afropunk). Social networking has played an integral part in sourcing new contributors—from writers to artists to musicians—as well in

disseminating their work and growing their readership. Howard’s primary role at the publication is working intimately with the writers and editing the content to ensure that each writer’s strong personal voice is able to shine through while still preserving the overarching tone of the magazine. He says that the most common struggle he faces is receiving articles that sound like academic papers. Not Mad does not publish neutral content and intentionally highlights the writers’ biases. “Part of our writing style is that you’re always aware of the writer; even if the first person isn’t used, the writer is still very much involved in the piece you’re reading,” Howard said. One of the firsts aspects readers notice about Not Mad is the vibrant and crisp aesthetic, which is designed by Howard’s partner. They aim to exclusively showcase artwork from fellow college-aged students. A crucial part of their identity and brand stems from promoting the work of likeminded millennials. “Equally important to the quality of the articles is the fact that we are supporting kids who are doing the

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Find Jackson Howard and NOT MAD online at notmad.us and on facebook.com/notmagmagazine same stuff that we are doing.” The practice of featuring relatively unknown artists on their site extends to the interviews they choose to conduct. While Howard and his partner both come from families in LA who are involved in the entertainment industry, they have refrained from the temptation of pulling celebrities and big-name artists in order to boost readership; instead, they have intentionally chosen to interview subjects who align with their vision. For instance, some of the interviews that Howard is most proud of were with Marcus Haney—a man who created a documentary after posing as press and sneaking into music festivals across the country—and Lisa Cooper, the stylist behind all of Beyoncé’s music videos. The piece that has garnered the most attention, however, is the Hitman piece Howard published from India. In the early 2000s, Hitman was a rapper taken under Dr. Dre’s wing and featured on Dre’s album “2001” more times than any other artist, including Snoop Dogg or Eminem. At the time, he was set up

to be the next big name in hip hop; he was on the brink of eminence when he inexplicably disappeared from the public eye. With the 15th anniversary of the album approaching, Howard found and reached out to him on Twitter, riddled with curiosity about his abrupt decline into obscurity. “When I found him on Twitter, he only had 500 followers. He hadn’t done an interview in eight years. Nobody had searched him out. Nobody had even cared.” The result was a three part series that satisfied the ravenous interest of hip hop heads” and simultaneously became a gripping human-interest story for those who had never heard of him. Despite the success of Not Mad, Howard still struggles internally with a quintessential millennial dilemma of wanting to make a valuable contribution to the digital society that dominates the daily lives of our generation and feeling uneasy about the perpetual reliance on technology and connection. Publishing the Hitman piece from an Internet cafe in India where cows leisurely mooed outside especially provoked the feeling that there

was something inherently superficial or unnatural about channeling our identities into a virtual outlet. In his eye, this could very well lead the world to neglect the present world. Ultimately, Howard hopes that Not Mad will be a safe space where millennials can voice these types of struggles that are uniquely characteristic of our age group. “People don’t just want listicles, and they don’t just want super heady intellectual academic stuff,” Howard said. “There’s a need for what we’re doing and collegeaged kids have a thirst for more.” In the future, Howard hopes to transform the Not Mad brand into a lifestyle, much like Vice has done, by expanding into a variety of platforms. Howard’s eventual goal is for Not Mad to become “a voice of a generation that is able to encapsulate and represent what it means to be our age in 2015—to embody something much bigger than me or than any of us.” WRITTEN BY LAUREN DIAMOND AND NATALIE SHERER PHOTOS BY NICHOLAS WILLIAMS

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P B lant

ast food, cook in minutes, in-and-outâ&#x20AC;&#x201D; we are a culture that has long relied on quick and efficient environments, most especially when it comes to what we eat. The results of this culture have taken food production out of the hands of individuals and into the hands of the businesses that provide the masses with processed food. It is not a mystery that processed food is not good for us, but in a recent report from the World Health Organization, it is clearly stated that processed meat is actually bad for us. This report has many people thinking that it is time for us to go back to our roots and embrace a diet that reflects a period before food was made in a factory. So, are we heading towards the vegan diet? Ellen DeGeneres, Ariana Grande, Carrie Underwood, and even BeyoncĂŠ and Jay-Z have all embraced the vegan diet, otherwise known as a plant-based diet, at some point in time. This diet entails forgoing meat, seafood, eggs, and dairy products in order to promote a lifestyle that boasts numerous health benefits, disease prevention, and positive environmental effects.

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Are we inevitably heading towards veganism or is it simply a celebrity fad?

It is suggested that the US has become a nation of “food tribes,” or communities formed around various diets. We can see the popularization of food tribes most distinctly through analyzing social media. According to Food Business News, these diets include veganism, vegetarianism, Paleo, “raw-til-4,” gluten free, and many more. So when we observe these health risks associated with the typical American diet and are looking for alternatives, such as veganism, on social media, what are we really seeing? Are we seeing the possible longevity, the increased energy, the lower cholesterol and blood pressure? Generally not. We see beautiful celebrities, amateur fitness gurus, and Instagram models who have chosen to exclude animal products from their diet. Let’s face it; they have made veganism sexy. Beautiful, skinny women are the face of the vegan diet that the population sees on social media. Currently about 5% of the US population identifies as vegetarian, with about half of those vegetarians being vegan. While that may seem like a small number, Nutrition Business Journal reports that the number of vegans in the US has doubled since 2009. This kind of exponential growth is impressive, but it also serves as evidence that veganism can be classified as a fad. Many people may jump on board for a week, a month, or even several years before finding themselves turning their backs on this simplified diet. The “Balanced Blond,” formally the “Blond Vegan,” Jordan Younger, revealed in an interview with New York Post that her vegan diet eventually transformed into an obsession. It became less about her own health or ethics and instead became a fixation on her own identity as a vegan in order to maintain an image for social media. The then-23year-old dropped a significant amount of weight and suffered other numerous health concerns. Younger developed orthorexia, an eating disorder which the National Eating Disorders Association

iased

classifies as a “righteous fixation with healthy eating.” Instead of acknowledging her own needs for her body, Younger set strict outlines for herself in order to be a part of the vegan community. By going even farther and becoming a face for the vegan community through her Instagram and blog “The Blonde Vegan,” she continued to put up positive images and posts to social media accounts despite the fact that she was suffering severely because she had to stay loyal to the 70,000 followers that were watching her every move. A problem with the veganism movement, or any diet that gives a strict outline of what you can and cannot eat, is that it is very specific and we as individuals are unique. Mentally and physically, people all have different needs. For Jordan Younger, veganism and the act of turning toward completely unprocessed, natural foods, worked as a catalyst to trigger a part of her personality that was obsessive. It took control and she developed an unhealthy relationship with food. Her followers couldn’t see that because physically, Younger was pretty, skinny, blonde, and generally appeared to be very happy. Social media has the power to manipulate the image of Younger and other vegans in the public eye and give the impression of something that may not be truthful about veganism. For veganism to feasibly work as a diet for everyone, it cannot be rigid. It requires allowance for modifications and in that case, it may not be true veganism. A plant-based diet can be an excellent choice for some as a method for improving health and lessening the effects of processed foods on the environment, but to focus heavily on the images of veganism on social media can have harmful effects on both mental and physical health. Balance is the key element when embracing a plant-based diet in the modern world. WRITTEN BY MADISON BAKER

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KATOI

s a longtime lover of Jerusalem Garden, it was a little disconcerting this summer when I walked past the popular Ann Arbor restaurant only to find it empty. Then, a week or two later, another confusing walk-by revealed the old staple covered in graffiti, big black swirls of paint covering the storefront making it look like Keith Haring got lazy. What had happened? Had the restaurant closed? Was this a new one? The short answer was, kind of. Jerusalem Garden didn’t close, of course; it had just finally moved beyond its tiny, overcrowded home. The beloved restaurant now lives a block away in a much larger, newly renovated space. As for the new restaurant… Katoi, featuring creative twists on Southeast Asian and

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Michigan cuisine, started out as a popular food truck in Detroit. It did so well that the creator opened up a “pop-up” version of the restaurant this summer inside the newly-vacated Jerusalem Garden space, hence the facade’s edgy facelift. And that venture in turn was successful enough to keep the business going on through this winter and, hopefully, for years to come. Here’s the thing about Katoi: it’s good. Really, really good. As a customer who often gets bored easily, and as a student who hates expensive food, Katoi is a mecca of delicious, relatively inexpensive food. It has a fun vibe--the new owners painted the interior (which frankly used to be a little drab) bright red, and a few wall features like a large, old map of Asia add a slight

“Here’s the thing about Katoi: it’s good. Really, really good.” - Merin McDivitt personal touch. But nobody’s there for the atmosphere, anyway. The menu changes a bit daily based on seasonal ingredients, although several favorite dishes seem to hang around most of the time. A mix of meat, seafood, and plenty of vegetarian dishes, the menu should have something to please even the pickiest fad vegan or Paleo experimenter. Most of the food is fairly spicy; an order of the Thai tea made with coconut milk is perfect to cool down the fire. While the constantly evolving nature of the menu makes hard-and-fast recommendations a little tricky, there are several standouts you’d be lucky to come across. The chickpea tofu sounds weird--what is it? Hummus? Tofu? Other ingredients from your local Whole Foods? It’s actually a tofu variety made from chickpea flour rather than soybeans, making for a firm texture and pleasant flavor. It comes with plenty of fresh cilantro and a delicious spicy dipping sauce, perfect as an appetizer. The “chicky” sandwich, a Thai fried chicken sandwich, is unbelievable. The toppings and condiments are on point; it is served on a bread that soaks up all the flavor without getting soggy. Somehow, my leftovers tasted even better the next day when eaten cold. It was pure joy. Other dishes were good, but didn’t leave as much of an

impression. Noodles were fine and came with a flavorful broth, but just weren’t comparable to the restaurant’s alchemy with sandwiches (they also serve banh mi at lunchtime). As for desserts, Katoi offers a unique set-up I haven’t seen anywhere else. Patrons indulging their sweet tooth just stop by the Bon Bon Bon counter on the way out. Bon Bon Bon, another Detroit street food creation, set up shop within Katoi as a separate but connected business. Its creative chocolates are pricey, but cute, and come packaged in very cool boxes. Worth the splurge for the experience, but probably won’t become a staple of my visits to the main restaurant.

Atmosphere: 6.5/10 Food: 8.5/10 WRITTEN BY MERIN MCDIVITT PHOTOS COURTESY OF KATOI ANN ARBOR

SHEI MAGAZINE’s Digital Mini-Mag

Shoot Directors

Torin Rittenburg

Stylists

Caitlyn Liao Sybil MacDonald Debbie Cheng Simone Pierce

Make-up Artist Tina Yu

Photographers TIna Yu Lorri Rasmussen Rebecca Deitch

Models

Susanna Fisenkova Sonia Tagari Sybil MacDonald DeNero

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On the previous page: Susanna is wearing Vagabond heels and a Modcloth studded vegan leather jacket Sonia is wearing a lace co-ord from PacSun, Steve Madden booties, and jewelry from Brandy Melville DeNero is wearing a patterned shirt from PacSun, BDG white skinny jeans, and his own watch On this page: Sybil is wearing a Gucci top, black acid wash cutoffs from Forever 21, a Leviâ&#x20AC;&#x2122;s denim jacket, rings by 100 Squared, and boots by G

SHEI MAGAZINEâ&#x20AC;&#x2122;s Digital Mini-Mag

F O R

ALL

M A N K I N D

Shoot Directors

Aishu Chandrakanthan

Stylists

Sabrina Zayec Adithi Reddi Amily Yang

Make-up Artist Adithi Reddi

Photographers

Brian Beckwith Kristen Eisenhauer Gwen McKee

Writer

Jayne Jaeger

Models

Darian Razdar Zinny Weli

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What grows into a tree first starts as a small seed. We are only able to expand upon what we already have: our roots— the basics, the groundwork on which culture is built. The right answer is often the most simple. Natural hair, earth tones and androgynous makeup bring us back to the clean, transparent, foundations of fashion. Plain shirts represent the oftenoccurring ambiguity of identity in the Western fashion industry. Identity can be portrayed through their accessories, ones which stand out against a simple background, and the way that the fashion is decidedly arranged. America is a free space to explore different cultures that have adapted into a brand new one. Everything here was supposed to be new, but in reality, nothing truly was. It was a combination of various backgrounds all mixed together to create something that no one had ever seen before. When simple clothing pieces are placed together it is easier to appreciate the diversity of each item. And when we pull from different roots, we have the opportunity to make something unique. These foundations remain, even as the tree begins to grow into something much more magnificent. We can’t forget to proudly carry our seeds with us in the present as we continue to create the fashion of generations to come.

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THE EVOLUTION OF FASHION WITH

STATIC IDEALS

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ashion as we know it today has become a mechanism to be used at the will of the individual; it is unrestrained to collective appeals and trends. Surges in cheap clothing, new brands, and the influence of social media have birthed distinctive styles that become personalized with the free-flowing guidelines of the modern fashion world, most particularly in the world of women’s fashion. To get to the height of individualization through dressing and accessorizing, history has had to suffer through evolutions of oftentimes cruel, unhealthy, and discriminating garments and social trends, oftentimes threatening the well being of women through physical and social exploitation. The odious nature and the offensive backbone that supported such restrictive fashion through the past centuries was built from the competitive social hierarchy, and more importantly, the male gaze that deemed it the responsibility of the female population to dress with such elaboration and extremity that left their bodies showboated and equally contorted. To trace the progression of Western fashion, we must first turn to the 18th century, a time of intensified constriction for women and the clothing they wore. These garments, more appropriately labeled as fashion contraptions, such as the bodice, stay, pannier, mantua, and other excessively large, draping coats and robes, restricting most of a woman’s movement abilities. Women’s fashion at the time was perhaps a reflection of their positions in society; they were entrapped in their dresses just as they were confined to their homes. Many women looking to raise their social statuses would mimic the dress of the aristocrats; for, if two dressed the same, evenly in attire and style, who was to judge at a glance which was of a higher standing? The divisions amongst the aristocrats and middle to lower class women were magnified as the nobility looked to be dressed in the most ornate garments that prevented those of the lower class to attempt to replicate the look. But with more grandiose fashion came more sacrifices of the body, and so separating one’s style from the masses entailed a certain surrendering of comfort. As the 18th century passed, the infamous corset and crinoline was ushered into the limelight during the early 19th century; it peaked during the first few decades and gave women’s bodies no refuge. Conforming to the norms of Western fashion proved hazardous for many women. Both devices distorted the body, causing health issues amongst many deaths, as the crinoline’s large frame would often get caught in wheels, machinery, and, most notoriously, fires. Corsets were laced taut with petticoats draped over the caged hoops of the crinoline in order to emphasize a smaller waist and larger bust. Interestingly, during the 18th and 19th centuries, voluptuous and bulky dresses were deemed the more appropriate and attractive. Slim and slender dresses were signs of lower social standing and little wealth. Because everyone from royalty to shopkeepers wore crinolines, the distinction between classes was made through the materials used, designs of the petticoats, and the sizes of frames. The most expensive and sought after styles were of heavy fabrics with intricate stitching that were draped over a crinoline’s extensively wide, steel hoops. In company, the slimmest and most adorned corsets gave a woman’s upper body the proper appearance. As a consequence, women who wanted to distinguish themselves had to give up more of their physical mobility, just as they had done in the previous century.

But even as the days of the corset and crinoline disappeared from popular trend by the end of the 1860s, there was still little hope in sight for a change in the unnatural dressing of the woman’s body. Society’s great parting from these two physically-restrictive garments only heralded the emergence of bustles, protruding skirts with long waists, commonly made of whalebones—indeed only exceeding the suffering from previous garments with tight lacing. Thus, there was a continuation of the 18th century constraints that were imposed onto women’s fashion all throughout the following century. These fashion tools that were meant more for projecting the woman’s body than making artistic statements of beauty and design were so exceedingly elaborate and expensive that women who didn’t belong to nobility had little success in replicating the style. Women used such confining fashion in attempt to gain higher social standing, though they rarely succeeded. This perceived naturalness that women should forfeit their bodies, freedom, convenience, and health is highly repressive, showcasing the Western world’s cruel responsibilities that were burdened onto women. Such a case in history represents the poisoned ideology of the populace that women’s dress should be utilized to only flaunt and enhance their bodies. The construction of binding garments led to a continued entrapment of women in the cycle of inconvenient fashion throughout the 19th century—but where did men’s fashion stand during this time of inconceivable pressures on the female body? Just as women were the objects of society’s eyes, so were they to their husbands’ eyes. Social and gender norms established that a woman was a representation of her man, so while her counterpart was allowed to pay less heed to his own wear, women were burdened with the responsibility of being exhibitionists, attracting others with their elaborately built and styled dresses. This social dynamic held strong during the past centuries of the Western world gusted women into a tornado of objectification and constraint through the statements they felt compelled to make through clothing. It was not until the early 20th century, when technological advancements led to comfortable and functional garments and mass-production enabled styles to be produced for the masses at more affordable prices, that fashion took a strong turn. There began a growing public recognition, backed by supported research, of the health concerns that came along with such constricting fashion, which helped rid women’s wear of outrageously tight lacing and large frames. The 18th and 19th centuries were an assault on the physical form of women. Throughout the course of history, time has merely replaced, instead of done away with, garments that physically constricted women. Only until the mid 20th century, when mass-manufacturing and haute couture came into existence, did fashion turn to realms of comfort, accessibility, fluidity, and ease. The ideologies once held about women’s fashion, though, have never seemed to fade from the public eye—they are only disguised in new forms. Nowadays, with more tailored, skinbaring, and slimmed outfits, women continue to be objectified through the media and in the fashion world. So even while the tremendous frippery of past fashion has largely vanished, what else has really changed besides the clothing? WRITTEN S H E I MBY A G ATORIN Z I N E ’ s D i gRITTENBERG ital Mini-Mag 25

CHILD C HILD’S

PLAY PLAY PL

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Shoot Directors Moona Lee Maggie McMillin Stylists Christiane Suzuki Tasha Lin Kate Johnson Mara Moldovan Bailey Jenkins Make-up Artist Christiane Suzuki Photographers Rebecca Rudma Olivia Meszaros Moona Lee Writer Merin McDivitt Models Charlotte Feldman Skylar Garrett

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Childhood doesnâ&#x20AC;&#x2122;t usually appear through fullyformed memories. Existing in the recesses of our minds there are vague stories of this time and that time that often blur the lines between familial anecdotes, told time and time again, and reality. Instead, what we get is a vague series of sensations--the sound of bubblegum popping, the smooth tug of a bright crayon against crisp white paper, the last glimpse of a balloon as it floats away. These sensations are just enough, though, to pique our interests, to arouse the needless nostalgia the young hold for their youth as it slips through their fingers. This is the time of our life when we perhaps least want to be associated with our childhood, and yet we feel the inescapable pull towards those seemingly simpler times. The farther we reach toward that, however, the more it retreats from us. Just as no one wants to see a forty-year old wearing neon lipstick and miniskirts, no one wants to see a young adult perpetually stuck in childhood. This transition is difficult; it is perhaps the hardest one in our life. Without a clearly defined identity, it is easy to feel as though you are pretending whether you choose to act youthful or mature. But itâ&#x20AC;&#x2122;s time. Get off the playground. Dust yourself off, pick the bubblegum off your stilettos. Put your jacket on, and get to work.

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Charlotte is wearing an Aperican Apparel t-shirt dress, UNIQLO black pants, and Carsonâ&#x20AC;&#x2122;s riding boots Skylar is wearing a black-and-white striped top from Zara, orange trousers from Forever 21, and black booties by Diaba

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Lilly is wearing a Brandy Melville shift dress, a luxe knit sweater by Talula, and a Wilfred hand-frayed scarf

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Stylists

Louise Barnard Dan Iammatteo

Photographers Zoe Byun Shannon Mares

Models

Lilly Lee Dan Iammatteo Tinsley Stokes Edward Nunoo

Dan is wearing a longline turtleneck and bomber from ASOS, Johnson & Murphy suede brouges, and glasses from American Apparel

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Edward is wearing a demin jacket from Levi’s, a Panama felted hat, teal Levi’s 511s, and Your Neighbor’s floral buttondown

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Tinsley is wearing her own vintage flannel, Free People jean overalls, and a sunny crop top from Urban Outfitters

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Model, Mogul, Mentor:

Catching Up With Victoria Henley Creative Director Lynn Henley

Designer

Johnathan Kane

Make-up Artist

Andrea Joe Cilase

Hair Artist Ebony

Photographer

Jedd Austin (Dark Stripe Media)

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merica’s Next Top Model alum Victoria Henley is a whirlwind of positive energy, big dreams, and drive. In the three years since her television debut on ANTM’s cycle 19, the model/actress has built an impressive career in the world of fashion and media. In addition to editorial modeling, Henley has added television host, producer, event planner, creative director, magazine founder, and mentor to a growing list of job titles, and it is clear that she enjoys each role she steps into. Henley, en route to her next venture in Miami, called us from the airport to discuss the root of her passion for modeling, the importance of mentorship, and how she stays grounded amidst a career that’s taking off in so many exciting directions. The featured photos were taken at Henley’s recent shoot with red carpet dress designer Johnathan Kayne. Henley worked with Kayne to develop a look based on the root of the red carpet, infusing Old Hollywood glam with edgy energy.

Roots: Industry SHEI: How did the shoot with Johnathan Kayne come about? What’s the process behind setting something like this up? Victoria: It looks simple, but there’s a lot that goes into the process of an editorial shoot. You have to make sure to have a lucid theme, because you’re telling a story. In my experience, having mood boards to be able to send to the creative team really helps. I am the creative director of a lot of shoots. As a model, as your career evolves, you have more credibility to be able to work in different capacities. At this point in my career, I’m able to contribute my artistic vision. When I called Johnathan to set this up, he was excited to work with me and we got started right away. S: You’ve been doing this for many years now – have you witnessed any major changes within the modeling industry since you began? VH: That’s true, I had my first modeling job at six months! I was scouted at a dinner out with my family, and that was when it all began. I think nowadays there is definitely more of a trend toward Avant Garde spreads, where there’s an emphasis on narrative and story. I’ve also seen changes in the type of model that’s in demand. For a while there was a certain body type that was embraced and expected; models had to be rail thin. But now it’s really changing and there are great opportunities for plus size and lifestyle models. There are so many different types of modeling, and today there’s always an agency out there that will be a good fit for aspiring models. S: You’re also interested and involved in acting, often related to modeling – in your experience, how do those industries interact? VH: The benefit to being on a reality show [speaking from her ANTM experience] is that while it may be an artificial or

edited personality, it’s still your personality and viewpoints that are getting publicity behind the scenes. The competition is really based on your ability to speak. We would film at least 2 hours of interviews per day. It’s so important for models at least to be able to speak. Spokes modeling is great if you can do that, and it’s a stepping stone to acting. I like creating my own projects that involve acting. I’ve worked on independent films and commercials, and feature films are always a future goal. Speaking of independent projects, I recently started my own magazine, Magnifique, that’s set to debut in a few weeks. The issue is going to feature actors, NBA players, opera singers, models, and designers I’ve worked with. Roots: Geography S: You are based in Georgia. What made you decide against moving to a city that’s known as a fashion hub, such as NYC or LA? VH: I am based in the Atlanta area, but really I’m always on the road. I grew up in Georgia in a tiny town with dirt roads and just one stoplight. There was a great sense of community and everyone was supportive of what I wanted to do. But I realized at a young age that I wanted to explore and put myself out there and that traveling would be a big part of my life. I know other friends and colleagues who have made those permanent moves to places like New York or LA, hoping for more job opportunities in the industry, but I’ve seen them lose a lot. It’s so competitive in those areas and they aren’t seeing those opportunities come about. For me, it’s worked best to have the Atlanta base. There’s really a lot going on in the fashion and film worlds in Atlanta. The expense of living is easier, and I’m more available to the New Orleans and Miami markets from my Georgia location. I’m working much more than I think I would be in a different city. S: How have you leveraged your skills to succeed as a model based out of Georgia? VH: (Reflecting on her time on ANTM) I was the youngest person that they cast on the show and I didn’t have as much experience as some of the other girls, but I would always take out pieces of paper and write down business plans. I didn’t want to miss out on the opportunities I was getting. As soon as I got home, I called an agent. I had always wanted to work for Nieman Marcus but never got an opportunity, so I sent in my ANTM shots and put myself out there and got the job. I also landed a spot as an interviewer on a Georgia CW-affiliated network, and I was able to build rapport with the audiences and really increase the viewership. The show is fashion-based and features live runway shows, and I now produce and host there and on a Florida network. I also produce runway shows with Magnifique, concentrated in the Florida market. I love being able to meet and connect with young, aspiring models and step into a mentorship role. The shows provide new models with amazing opportunities for contracts. The diversification of interests and skills has been a huge part of my career. I love editorial, but I would never want to be doing only editorial shoots.

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Iâ&#x20AC;&#x2122;m personally still working on achieving that balance ;

making sure to make time to

breathe and relax.

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S: What do you enjoy most about working with smaller, independent publications, models and designers as well as larger ones? VH: For me, it’s exciting to work with up-and-coming magazines because you have no idea where they’ll be in a few years. It’s fun to work with small creative teams that are open to new ideas and have funky artistic visions that aren’t so mainstream. I do work with larger publications, like Nylon and Vogue Italia, and bigger designers like Johnathan Kayne (who has dressed celebrities), and they’re wonderful. But with smaller places, you almost feel like you discovered the designer or the magazine. Roots: Personal S: As a busy, working model, what do you do to stay grounded and focused? VH: I am honestly a workaholic. It can be stressful, but at the end of the day it is what I really love. I’m personally still working on achieving that balance, making sure to make time to breathe and relax. Next week I’m taking a trip to Tennessee with my mom and it’ll be back to being a kid for a while. I also enjoy fitness – aerobics, walking on the beach. And I relax by watching films at the end of a long day, especially mysteries and thriller movies. I think social media plays a part in the stress too. With social media blowing up, everybody feels the pressure to start these accounts, but they take so much time to maintain – it’s important to know when to take a break. S: What are the most rewarding moments for you in this line of work? What’s at the root of why you model and act? VH: It’s important not to become jaded, and to remember to appreciate every opportunity that comes along. I also love checking things off my list. I’m a big list person. Every day I make a list (I say a list – it’s about five lists) and checking off those goals is very gratifying. Ultimately, if you’re not doing what you love, it shows through. You may have longevity in your career, but you won’t be putting out quality work. I like to remind myself at the end of every day that I’m doing what I love.

That she is. Henely’s love of traveling, performing, and above all connecting with people is apparent in every project she pursues – from fashion to film. She would love to hear from all of you, SHIFT readers, so drop her a line at lynnboathen@ yahoo.com. To learn more about Henley and follow her latest adventures, check out her pages on Facebook (facebook.com/ quirkyvictoriafanpage) and Instagram (@victoriaelizabethhenley). WRITTEN BY SHANNON KING

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Shoot Director

Mackenzie Kimball

Stylists

Isabelle Genshaft Hannah Wasserman Andrew Gretkierewicz Tabassum Mohibi

Make-up Artist

Mackenzie Kimball

Photographers

Katherine Raymond Sophie Kofoid Sarah Wang

Models

Isabelle Genshaft Audrey Schaefer

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Pra

actical Magic SHEI MAGAZINEâ&#x20AC;&#x2122;s Digital Mini-Mag

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Audrey is wearing a BCBG velvet bodycon dress, jewelry by Stella & Dot and V2V, and black pumps from ALDO Izzy is wearing a Betsy Johnson crumpled velvet top, vintage cosutme pearls, and black booties from H&M

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xo xo xo xo xo xo xo xo xo xo

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Izzy is wearing a nude bikini by Laina Rauma, a Fleurette nude trench coat from Neiman Marcus,and the stylistâ&#x20AC;&#x2122;s own gold body chain

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Person holding an ancient grimoire 24 JUNE, 2015 - 00:27 April Holloway Magic of the Ancients: Five Incredible Texts of Spells, Curses, and Incantations As long as humanity has had beliefs in a higher power, the use of magic, spells, curses, and incantations have featured widely across cultures. A number of influential texts or ‘grimoires’ (textbooks of magic) were developed over the centuries, many of which became the books of choice for secret societies and occult organizations that endured well into the twentieth century. Here we feature five manuscripts that provide a fascinating window into the magic of the ancients. The Book of Abramelin the Mage, Esoteric Grimoire of Kabbalistic Knowledge The Book of Abramelin the Mage was written as an epistolary novel or autobiography of a person known as Abraham of Worms. Abraham was a German Jew believed to have lived between the 14th and 15th centuries. The Book of Abramelin the Mage involves the passing of Abraham’s magical and Kabbalistic knowledge to his son, Lamech, and relates the story of how he first acquired such knowledge. Abraham begins his narration with the death of his father, who gave him ‘signs and instructions concerning the way in which it is necessary to acquire the Holy Qabalah’ shortly before his death. Desiring to acquire this wisdom, Abraham said he travelled to Mayence (Mainz) to study under a Rabbi, called Moses. Abraham studied under Moses for four years before travelling for the next six years of his life, eventually reaching Egypt. It was in Egypt that Abraham met Abramelin the Mage, an Egyptian mage who was living in the desert outside an Egyptian town called Arachi or Araki. Abramelin is said to have then taught Abraham his Kabbalistic magic and gave him two manuscripts to copy from. Pne of the highlights of this grimoire is an elaborate ritual known as the ‘Abramelin Operation’, which is said to enable a mage to gain the ‘knowledge and conversation’ of his/her ‘guardian angel’ and to blind demons. The manuscript was later used in occult organizations such as Hermetic Order of the Golden Dawn and Aleister Crowley’s mystical system of Thelema. The Ars Notoria - An Ancient Magical Book to Perfect Memory and Master Academia As part of a larger collection known as the Lesser Keys of Solomon, the Ars Notoria is a book that is said to SHEI MAGAZINE’s Digital Mini-Mag

Audrey is wearing a white bikini by Koa Swim, a Beekman Place spotted faux fur coat, and a clear chain necklace by RJ Granzio

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THE FORWARD ISSUE

RELEASE PARTY DECEMBER TWELFTH NORTH QUAD RM 2435 56

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