SHIFT MAGAZINE Issue 4//Vol. 2

JANUARY 2016 VOLUME 2 // ISSUE 4

SHIFT FLOW

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MAGAZINE

EDITOR-IN-CHIEF Shannon King CREATIVE DIRECTOR Aaron Pelo

FEATURES EDITOR Lauren Guldan

FASHION EDITORS Mackenzie Kimball Debbie Cheng

DESIGN EDITORS Lexie Johnson Morgan Lovay

PHOTO EDITORS Rachel Beglin Courtney Evans

DIGITAL CONTENT DIRECTOR Regan Anderson DIGITAL FEATURES Alex Rakestraw

DIGITAL FASHION Hannah Wasserman

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

FULL STREAM AHEAD

From natural rhythms to industrial progress to positive headspace, the many faces of Flow move us seamlessly into the New Year

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o flow, to move endlessly and easily through time and space, is generally lauded as ideal. Many examples lie in artistic endeavors; certainly the written word should transition smoothly, the line of a garment remain unbroken, actors and dancers meld their minds and bodies in seamless performance.

But industry too is measured continuous motion. New technology and new ideas flow forth from every corner of the business world.

And ‘flow’ as a noun takes us somewhere else entirely, to the soughtafter mental clarity and productivity of those who have discovered their personal rhythm, working without interruption.

In creating this issue of SHIFT, we found inspiration in the many compelling corners of ‘flow’. You’ll read about new digital technologies cleverly integrated into the fashion world in “Haute Tech” (p22) and discover the same industry’s incorporation of diverse new markets in “Untapped”(p6). You’ll see reference to natural rhythms and the fluidity of the human body in shoots like “Lead” (p14) and “Metallic Bonds” (p30). We explored these facets of flow and many more as we rode the wave of fashion and culture into 2016. We invite you to do the same as you…

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SHIFT MAGAZINE

SHEI MAGAZINE’S DIGITAL MINI CONTRIBUTORS

FASHION sybil macdonld

amily yang

aishu chandrakanthan kate johnson

gillian yerington

maggie mcmillin

mackenzie kimball

dan immateo

christiane suzuki

louise bernard

hannah wasserman tabassum mohibi

tasha lin

sabrina sayec

LITERATURE aaron pelo

rachel beglin

merin mcdevitt

PHOTOGRAPHERS courtney evans gewn mckee

brian beckwith

shannon mares

katherine raymond

olivia mezaros

lori rasmussen

sophie kofoid

tina yu

VIDEO elise jayakar

claudia fuentes

MODELS blake pittman

ashley white

destiny hugh

lauren guz

hannah wasserman

liam weisenburger max preissner

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:

Body Language // This shoot was conceptualized with the notion of the flow of the body’s natural form in mind. Draped chains, loose hair, glittering makeup and tight white apparel come together to form a juxtaposition of freedom and restraint. It calls into question the nature of the physical body and the ways its both solid and fluid.

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MASTHEAD

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LETTER FROM THE EDITORS

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CONTRIBUTORS

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FASHION & CULTURE

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THE FRUGAL FOODIE: BELLY DELI

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LEAD

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HAUTE-TECH

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AETHER

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METALLIC BONDS

Untapped: H&M recently featured their first hijab-wearing model, and Dolce & Gabbana has a new line of headscarves. What more is to come in the world of Muslim couture?

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Untapped.

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ashion has its natural ebbs and flows, in’s and out’s, booms and busts, changing seasons, color palettes, and tastes. But finally – finally – the fashion world is expanding as top brands have started putting out lines targeted at Muslims, which shouldn’t be surprising; Islam is currently the second most practiced religion globally, and the market for modest, Muslim fashion is anything but small. In 2013, a report from Thomson Reuters revealed that Muslims spent $266 billion on clothing and footwear – that’s more than the total fashion spending of Italy and Japan combined. The religion – and its constituents’ fashion expenditures – are expanding, and the Muslim community is expected to spend an annual $484 billion on clothing in 2019.

DKNY set off the movement when they unveiled their 2014 women’s capsule collection for Ramadan last year. Ramadan, the Islamic holy month of introspection, fasting, and prayer, has become a focal point of Muslim fashion and has an increasing status as a shopping holiday. The New York Times went as far as to call it “a month of extravagant spending that is rivaled, some say, only by Christmas.”

DKNY was not alone. Tommy Hilfiger, Oscar de la Renta, Zara, and Mango have all capitalized on this expanding market, each putting out their own lines specifically targeted at the Muslim community. Some companies have been somewhat less outspoken about their target audience; for example, the Japanese clothing retailer Uniqlo partnered with a popular Muslim fashion blogger, Hana Tajima, to release a “special modest-wear collection” composed of skirts, dresses, blouses, and even hijabs. Although some members of the Muslim community see these fashion trends and new, more inclusive lines as a step in the right direction, others find that it is simply not enough. Many of these new

G A Z I N E / / V o l u m e of 2 I s s uDolce e 4 Photos & Gabanna 6 S H I F T M Acourtesy

FA S H I O N & C U LT U R E

lines are only available in the Middle East and Asia, limiting the accessibility of these new, more representative capsules, especially for Muslims in the Western Europe and North America – a hugely untapped market.

However, there have been other crucial strides by the fashion industry to be more open to diversity. This past year, H&M hired its first ever hijab-wearing Muslim model. A gorgeous twenty-three-year-old London native, Mariah Idrissi, has been very outspoken about the experience and what it means to her to have a person in a hijab representing such a huge retailer. When describing her experience onset, she told Fusion, “They were very respectful.

If the cameramen noticed something not quite right, they would call a woman over to fix me. It just showed that little bit of respect.”

Idrissi was given a private dressing area and a female assistant as the company tried to be cognizant of her personal needs and comfort levels. For years, mainstream Western fashion brands largely ignored the untapped market of comfortable, fashionable, high-end modestwear for Muslim women.

However, for some, this movement has been worthy of admiration but simply not moving fast enough. The Ramadan-targeted lines have been wonderful, but these women are looking to shop twelve months out of the year – not one. It’s unsurprising, then, that a Muslim fashion blogging and Instagram movement have swept cyberspace, styling modest and religiously appropriate clothing out of what’s available and taking a bit of a D.I.Y. stance. Ibtihaj Muhammad of Maplewood, New Jersey ended up creating her own brand after frustratingly spending hundreds of dollars on clothes to have them shipped overseas. At twenty-nine, she ended up creating Louella, an online shop that has been no small project. In its first year, the company made $250,000 in profit. “When you think of the Muslim woman consumer, we’re no different from anybody else,” Muhammad said. “We like to shop, we like to find a bargain, and we like to be fashionable.”

In terms of diversity, this changing of tides is certainly a sign of progress in the 21st century world of fashion, and it will be exciting to watch the industry continue to expand its clientele and open its doors to these beautiful, modest lines for women who have just as much of a right to high-end fashion as everyone else.

WRITTEN BY RAHCEL BEGLIN

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BELLY DELI F

or Michigan students, restaurants come in two types. The first is the “parent” restaurant: found on Main Street and beyond, these eateries serve older Ann Arborites such as professors, doctors, and so on. (Read: people who can spend $30 on a steak rather than $5 on a “freaky fast” sandwich.)

Sufficed to say, these restaurants are frequently off limits for students. Other than the rare parental dinners. Maybe even the occasional foray into classy land for a hot date, the kind probably not arranged on an app.

Then, there is type two: the restaurants that feed us students.

“College food,” you could say. These student places are photo negative to the parent visit splurges we crave. Where those Main Street restaurants are judged according to conventional criteria (does it have a nice atmosphere? just how good is the food?), in our restaurants, there’s a whole new set of questions involved.

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Questions like: “I’m starving. Will this food be here in the next 30 seconds, or more than 30 seconds?” and “How much food can I eat for $5 or less” and “So...do you deliver to the UGLI?” As students, our main concerns when it comes to restaurants are a little different than those of adult society. Cheap, fast, convenient, and delicious (of course) are the new criteria. By these standards, and to an extent by “real world” standards as well, Belly Deli is an appealing option.

Belly Deli, a Korean-American fusion sandwich restaurant, has a grab-and-go atmosphere that appeals to students on the run. Its convenient location makes it easy to pick something up in between classes, as SHEI did during a quick visit. What Belly Deli lacks for traditional “restaurant atmosphere,” it makes up for in time and good quantities of stuff that tastes good. The small space is pleasant and has plenty of good seats for South U

“As far as ‘student places’ go, Belly Deli is one of the best in town.” - Merin McDi vitt people-watching, but unfortunately no protection from the cold wind when the door opens. Considering Belly Deli’s focus on phone orders anyway, take-out is probably your best bet. The engaging staff works quickly and efficiently to serve up your sandwich, meaning food is in your hands in about five minutes.

Now, on to the real strength of Belly Deli: the food! First on that list of student criteria, it’s actually cheap enough for students. You can grab a nicely sized sandwich and drink or side for around $10. Their biggest draw, and my personal recommendation, are their sandwiches, a delicious East-West fusion primed to slather with plenty of Sriracha. These “Belly Sammies”, as they’re called, come piled high with veggies and your choice of protein. (I know, I’m not a big fan of the cutesy food names. The “Belly” comes from the plentiful Korean-style pork belly on offer, so I guess I’ll forgive them.) The sandwiches are served on Zingerman’s fabulous and crusty baguettes --the thick, chewy French bread soaks up all the meat’s sauces without getting soggy.

Sandwiches, buns, and salads come with flavorful Korean condiments like sweet pickled vegetables, cilantro, mildly spicy peppers, and flavorful sauces. There’s meat piled high enough to satisfy any carnivore, and it’s deliciously tender. Buns are fresh and soft, but are a smaller, less original lunch if you’re looking for true “fusion” food. Sides aren’t a major focus at Belly Deli,

although the bokum balls are a unique offering. A mix of kimchi, pork, and rice, breaded and fried falafel-style, these sounded more exciting than they were. A little greasy, bland, and served with a Sriracha ketchup that seemed more like regular old Heinz than anything zesty. You’re better off sticking with a sandwich and spending your extra couple bucks on one of the restaurant’s artisanal (read: pinky’s up) fountain sodas.

Belly Deli did everything I wanted it to do. As far as “student places” go, Belly Deli is one of the best in town! It was quick, affordable, and delivered big on flavor. Stick with their strengths, and you may just have a new favorite lunch place.

Atmosphere: 5/10 Food: 7.5/10 WRITTEN BY MERIN MCDIVITT PHOTOS BY COURTNEY EVANS

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L E A D

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Shoot Directors Tabassum Mohibi Kate Johnson

Make-up Artist Tina Yu

Photographers Sophie Kofoid Gwen McKee Tina Yu

Videographer Elise Jayakar

Models

Lauren Guz Liam Weisenberger

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KEEP YOURSELF WARM

Oversize knit from Urban Outfitters Knit, Lulu Lemon leggings SHEI MAGAZINE’s Digital Mini-Mag

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SLIP THROUGH YOUR HANDS Sweater and joggers from H&M

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H A U T E

TECH K

arl Lagerfeld unveiled a lot more than couture at the Grand Palais in Paris last July. The fall/winter 2016 Chanel collection, which featured 3D printed vests and lasersintered shoulders, proved that even century-old traditions have a place in cyberspace. There was some bickering within fashion circles about whether the fact that some elements of Lagerfeld’s designs were crafted from computer models discredited the pieces as “true haute couture.” Although 3D printing isn’t exactly new to fashion – Iris Van Herpen used the technology in her Crystallization collection (July 2010), and Burlesque star Dita Von Teese donned a fully articulated (and totally see-through) 3D printed gown designed by Michael Schmidt and Francis Bitonti back in March of 2013 – its presence in the Chanel suit, one of the most iconic uniforms of the twentieth century, legitimizes digital design as a necessary component in twenty-first century couture. As 3D printing matures and becomes standardized in the fashion industry, computer models could ultimately supplant atelier seamstresses. At that point the Chambre Syndicale, the commission that grants fashion houses with haute couture status, will have to decide how big a role 3D printing can play in bona fide couture – Herpen and Lagerfeld certainly suggest it should be given more stage time. For those designers, and for so many in the world of high fashion, the digital age isn’t a threat to tradition, but a stimulus for creativity.

In December 2014 Vogue Australia launched its fifty-fifth anniversary issue featuring Australian model and fashion’s favorite comeback kid Gemma Ward on the cover. To promote the issue, Vogue also released a short making-of: Inside Vogue: Eyes on the Future, which documents the magazine’s collaboration with Animal Logic, the Australian animation and visual effects studio behind The Matrix, 300, Moulin Rouge, and Happy Feet. The images of a self-obsessed android wearing a multicolor Alexander McQueen feather cape and Gemma Ward floating zero gravity style in a CGI spaceship make it clear Vogue Australia had no intentions of looking to the past to celebrate its anniversary. Instead, the issue is focused entirely on the future of fashion and how we view and wear it. This convergence of print and digital media isn’t just an editorial experiment. In the spring of 2015, select subscribers to Esquire and Popular Mechanics were able to watch a short ad for the new Chevrolet Colorado on a 4.3-inch LCD screen imbedded into the pages of the magazine. The cost of these video-print hybrid ads is of course astronomically high, but it’s clear that fashion magazines and their advertisers believe utilizing the technology of the digital

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While some industries are struggling to keep up with the digital revolution, the world of high fashion seems to be a step ahead.

age to sell things, whether it’s Armani Privé or pickup trucks, is something worth investing in.

One of the most lucrative video game franchises to come out of Japan, up there with Pokémon and Mario in copies sold worldwide, is roll-playing-game (RPG) series Final Fantasy, owned and produced by Tokyo-based company Square Enix.

It might not be the first thing that comes to mind when thinking about a French luxury fashion house specializing in leather goods, but thanks to Louis Vuitton’s darling Creative Director Nicolas Ghesquière, they now go hand in hand. To model in their latest “Series Four” promotional campaign, Louis Vuitton cast Lightning, the pink-haired warrior protagonist of Final Fantasy XIII. The video spot, produced by Square Enix, displays the CGI heroine wielding handbags instead of her usual sword, and sporting digitized pieces from the Spring 2016 ready-to-wear collection, including the opening look worn by bubble-gumhaired Fernanda Hin Lin Ly. Considering that Ghesquière drew heavily from anime, video games and sci-fi for his latest collection – the show featured allusions to Evangelion, Mine Craft, and Tron: Legacy – the decision to cast an RPG icon doesn’t seem like such an abnormality. The idea of merging different media, paradigms, and dimensions comes naturally to Ghesquière, who took to Instagram to launch the campaign, captioning it with “reality and fantasy become one.”

While some industries are struggling to keep up with the digital revolution, the world of high fashion seems to be a step ahead. What’s perhaps most exciting about this is that the use of technology and social media among high fashion circles makes even the most exclusive brands more interactive and accessible to the masses. Now anyone with a Snapchat account can sit front row at Marc Jacobs during New York Fashion Week, although the clothes themselves remain reserved only for those able to pay the hefty price tag. The technological innovations, whatever they are, that will become industry-wide norms in the next fifty years will likely come from people like Lagerfeld and Ghesquière, who aren’t afraid to embrace the digital age. The Apple Watch is probably the most immediate example of what can happen when the physical, digital, and fashionable intersect, but that’s just the beginning. Could we eventually reach the point wear everyone is printing off his or her latest designer purchase?

Some designers are already experimenting with smart textiles – fabrics that can change color, glow in the dark, and even communicate via digital sensors. Now that’s wearable tech.

WRITTEN BY AARON PELO

Photo courtesy of Vogue Australia

Photo courtesy of Vogue Runway

Photo courtesy of Louis Vuitton

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A E T H E R

Shoot Directors

Hannah Wasserman Sybil Macdonald

Stylists

Amily Yang Gillian Yerington Dan Immateo Christiane Suzuki Maggie McMillin

Make-up Artist

Christiane Suzuki

Photographers

Brian Beckwith Katherine Raymond Lorri Rasmussen

Models

Blake Pittman Ashley White

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METALLIC

BONDS Shoot Directors

Mackenzie Kimball Louise Barnard

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Stylists

Tasha Lin Aishu Chandrakantha Sabrina Sayec

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Make-up Artists Mackenzie Kimball Louise Barnard

Photographers Shannon Maiers Olivia Meszaros

Videographer

Claudia Fuentes

Models

Destiny Hugh Hannah Wasserman Max Preissner

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15th Anniversary Issue

FORWARD Now available at select retailers and online.

Contact distribution@sheimagazine.com to place an order for your own copy of this historical issue.

MAGAZINE.COM Fashion & Culture at the University of Michigan

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