Volume 7 | Issue 3
who’s on staff? editorial EDITOR-IN-CHIEF Natalie Guisinger CREATIVE DIRECTOR Evan Parness PRINT FEATURES EDITOR Deirdre Lee DIGITAL FEATURES EDITOR Melina Schaefer PRINT FASHION EDITORS Nick Farrugia Juan Marquez DIGITAL FASHION EDITOR Jacob Ward DESIGN EDITORS Carly Lucas Mackenzie Schwedt PRINT PHOTO EDITORS Katie Corbett Ryan Little DIGITAL PHOTO EDITOR Rita Vega STREET STYLE EDITOR Lucy Carpenter MANAGING PHOTO EDITOR Alex Andersen VIDEO EDITOR Kendall Ka
business PUBLISHER Colleen Jones MARKETING DIRECTOR Kira Mintzer OPERATIONS DIRECTOR Drisha Gwalani FINANCE COORDINATORS Alex Chessare Deesha Shah EVENTS COORDINATOR Alex McMullen HUMAN RESOURCES COORDINATOR Julia Napiewocki
DIGITAL CONTENT EDITOR Alex Sterchele
PUBLIC RELATIONS COORDINATORS Mackenzie Fleming Gillian Yang
SOCIAL MEDIA COORDINATOR Hannah Triester
SOCIAL MEDIA COORDINATOR Liz Haley
ILLUSTRATOR CARLY LUCAS
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 Kailana Dejoie Korrin Dering Isabelle Fisher Anthony Huynh Karly Madey Sarah Ory Natalia Nowicka STYLISTS Kailana Dejoie Tavleen Gill Karly Madey Courtney Mass Noor Moughini Abby Rapoport Jake Sweat Zara West-Uzoigwe Dhruv Verma WRITERS Lauren Champlin Sophia Layton William Neumaier Hannah Triester
PHOTOGRAPHERS Gabby Ceritano Korrin Dering Frances Gu Karly Madey Gabrielle Mack Gwen McCartney Paulina Rajski Ally Vern Fern Vickaikul VIDEOGRAPHERS Anthony Huynh Madeline Kim Sam Rao GRAPHIC DESIGNERS Camille Andrew Helen Lee Sophie Levit Halley Luby Gabi Mechaber Taylor Silver
VIRTUAL RELEASE DECEMBER 11, 2020
E P I P H A NY
in this issue
MASTHEA LETT CUPID’S TW QUE S
AD 02 TERS FROM THE EDITORS 08 ’S PLAYGROUND 12 WIN FLAME 18 EERING INTIMACY 22 LOVE GAME 26 THE MYSTERY OF VENUS 30 FORBIDDEN LOVE 34 SCALING STANDARDS 40 HEARTBREAK HOTLINE 44 LOVE LETTERS 50
letter from the editor
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Romanza (noun): A romance; a romantic flight of fancy; a fanciful invention. Origin: early 17th century Whether it be a fiery, forbidden fling, unrequited love, or post-breakup gloat, romance is a marvel that we all have experienced in some capacity. In this issue, we explore and reinterpret the different themes within love and romance. Initially, our editorial team ran with the different definitions of Romanza. In “Love Game,” stylist Karley Madey created her own sartorial, “fanciful invention” by constructing bodices made of a deck of cards. Centered around the duality of love and heartbreak, the cards symbolize the risky game of romance. This weary semester has guided us into exploring more escapist themes, including expressing love in a whimsical fashion. In our shoot “Cupid’s Playground,” the rosy, warm imagery encourages the viewer to feel as if they’ve been hit with Cupid’s arrow —viewing the world in a new light — a dream-like, lovestruck state. Although we divulge into the classical notions of cupidian love, in “Queering Intimacy,” Lauren Champlin analyzes how the confining paradigms of heteranormative love can be deconstructed among the queer community to allow for more fluidity, diversity,
and possibility. This has allowed Champlin to “reimagine a queerness without rules.” By reinventing the diary of a highschooler enduring a breakup, “Heartbreak Hotel” takes an avant-garde approach to depicting love. With COVID-19 causing heightened precautions with in-person photoshoots this year, shoot director Isabelle Fisher and her team decided to execute a shoot with just one model and photographer, while the rest of the team collectively used the images to assemble surreal collages. According to Fisher, the shoot is about how a girl is “thinking about how her relationships with others have shaped and distorted her perception of herself.” As we revamp the antiquated term Romanza, William Neumaier examines the different ways in which Venus is depicted, including one illustration as a tattoo on his left tricep in The Mystery of Venus. While he discusses the numerous ways in which the Italian deity is depicted over centuries, it is important to remember that symbols of beauty and love can stand the tests of time. Amid an age that we are all sequestered into our bubbles and finalizing this semester, we hope that you can indulge in these fanciful and adventurous interpretations of love. Whatever ignites you, embrace it, and love it as much as we do.
Natalie Guisinger Editor-In-Chief
romanza In a lot of ways, when I think about love I think about waste. A waste of time, a waste of pain, a waste of resources. It’s frivolous and and it’s cumbersome and it almost always ends in disaster. But maybe that’s why love is so beautiful, in the same way that flowers, or a fleeting second of sunset on the side of a building are beautiful. Humans love love because it’s the ultimate resistance against the incessant march of time, a stone in a river which the waters part around. And eventually that rock is dislodged, or worn away to dust against the gentle violence of the stream, yet for a moment it was there, right? Love doesn’t feed us, clothe us, keep us sheltered. It doesn’t make money for us or do our homework or take us from A to B. It does none of those things, and that’s why it’s so powerful. We love because we want to share, we want to reach into the lives around us and see in them what we see in ourselves. We want to look at someone and know their stories and care about their struggles not because it makes our lives easier but because it makes them better. We love even though it’s futile because in some ways it all is, and love is a way we can defy that expiration date. In Romanza, we explore that silly, slippery, frivolous thing called love and all kinds of ways love might appear in our lives. Love from the past that visits us through white marble, love that exists like a ghost between two projects of passion, love for friends and the times we share, and love that is confusing and misunderstood. Love is more than something shared between two people. It’s inside, it’s outside, it’s over there, it’s right here. It’s in your heart, it’s in your family, it’s in your favorite shirt, it’s in this magazine. There are little pockets of love everywhere, left behind by those brave enough to care. Do you see them?
Melina Schaefer Digital Features Editor
CUPID’S PLAY
GROUN
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DIRECTORS KAILANA DEJOIE KORRIN DERING STYLIST KAILANA DEJOIE PHOTOGRAPHER KORRIN DERING GRAPHIC DESIGNER GABI MECHABER MODELS STEPHEN BUCKLEY HOLLY TEETERS
DIRECTOR SARAH ORY STYLIST NOOR MOUGHNI MAKEUP ARTIST ZARA WEST-UZOIGWE PHOTOGRAPHERS GABBY CERITANO GWEN MCCARTNEY GRAPHIC DESIGNER TAYLOR SILVER MODELS NATALIJA SKOKO GABRIJELA SKOKO
Dresses - Thrifted Headpieces - Amazon Necklace - Vivienne Westwood
*Queer individuals sharing their own reponses to the question: How do you experience love and intimacy as a queer person?
Two years ago, as a freshman in college, a lot of things scared me about my first queer relationship. The biggest being the realization that I didn’t know the rules. I’d watched romantic comedy movies all my life—I knew the steps from boy meets girl to boy marries girl and everything to expect in between. But when I started to fall in love with a girl, I felt clueless. There were complexities to queer romance that I couldn’t have expected. Some exciting—like learning to embrace parts of myself that I never had and reimagining gender in ways I’d never thought to—and some not-so-exciting—like having to evaluate when a time or place was appropriate/ not appropriate to reach for her hand. Through it all, that experience forced me to reevaluate the models of love I’d always held onto. As a queer woman, perhaps they won’t always reflect my life and my relationships, and perhaps they shouldn’t. When love in our society is so of-
ten characterized by milestones—meetin falling in love, gettin family—how do que and understand love riage fit in the paradi cy? This question is o a clear answer befo five years after same legalized across the as long as people h people have been liv tablishing forms of outside of normative queer individuals fe tional queer families model of marriage t erosexual couples. the way the LGBTQ formed strong, fle and families outside marriage, and for thi no desire to take pa of marriage at all. W individuals choose n
cisheteronormative ng your one person, ng married, having a eer people navigate e? Where does marigm of queer intimaone that didn’t have ore and still doesn’t e-sex marriage was e United States. For have existed, queer ving, loving, and esintimacy that exist e constraints. Many fear that non-tradis simply won’t fit a that’s based on hetThey take pride in Q+ community has exible relationships e the boundaries of is reason, they have art in the institution While some queer not to marry, others
WRITER LAUREN CHAMPLIN GRAPHIC DESIGNER HELEN LEE
Liv (she/her) I wish I had the right words to describe the pure joy I have found in queer love and intimacy. When you only get to see representations of queer love as tragic or deviant, the most simple, mundane interactions make delight flutter in your stomach…Falling in love as a queer person is a radical act of self love. As I’ve opened myself up to loving my partner, I have acknowledged to myself that I deserve to love her, that I, and other queer folx, are worthy of feeling this.
find power in defining their relationships in the terms that marriage offers. However, some words and ideas associated with marriage still remain blurry for a lot of queer couples. For example, many queer women find the titles “wife” and “Mrs.” too aggressive, as they classically define women in terms of their husbands, alluding to power imbalances with baggage of their own. Those who do accept “wife” do so in an effort to reclaim the word in their own ways. Taking last names is another marriage ritual that, while historically situated power with the husband, queer couples have adopted with their own associations. Instead of taking their partner’s last name as a custom related to patriarchal power, a number of queer people whose own familial ties may be strained find that adopting their partner’s family name is a way to construct their own. Queer couples who do decide to marry often reimagine marriage to fit their needs, instead of forcing their relationship to fit
M Because I come from a family who is unsupportive and would potentially disown me if I came out, I have to create my own chosen family. I’ve noticed this a lot with people that have the same background/story as I do. I guess it’s just a subconscious way of protecting ourselves. The connections I do have are very important and special, though. There is something about queer love/intimacy with other queers that is deep and unspoken, like an understanding that you are each others’ family because the world is so harsh to us.
the standard mold. Maybe it’s the hopeless romantic in me that loves to envision queer relationships always ending in life-long romancess. However, after stumbling across the work of a textile artist named Diedrick Brackens, I became more drawn to thinking about the ways that queer intimacy exists outside of romantic relationships. In his work, Brackens hopes to convey a sense of queer intimacy between men that doesn’t have to be inherently sexual. When asked in an interview for Art Papers what a queer relationship looks like that isn’t sexualized, he answered “I would like to imagine that I could be intimate with a broad range of folks who don’t identify as queer, in the same way that I would be with people who do.” In Brackens’ understanding of queerness, queer intimacy isn’t reserved for relationships— monogamous or polygamous, featuring any combination of gender identities— it can be found in familial relationships
Alec ( The intimacy I queer person is than what intim On the one ha tional things t both queer frie coming out sto ized you were cishets just do there is also a of kinship with of the LGBT co girl who scream when I kissed m walking thr
(they/he) I experience as a inevitably different macy is for cishets. and you have addito bond over with ends and partners, ories, how you realqueer, things that on’t experience... an intense sense h other members ommunity, like the med “gay rights!” my boyfriend while rough the diag.
and friendships just as easily. Imagining queerness and queer intimacy in a space outside of sex is what guides us to thinking about the ways we love ourselves and others nonnormatively. If our conception of what queer is or what it looks like leads us to only picture it in terms of desire, attraction, and lust, we limit our understanding of how queerness affects the friendships we make, the families we choose, and the ways we reimagine our own identity throughout our lives. For queer communities—especially trans communities of color—the ability to construct dynamic and inclusive chosen families has long been a key to surviving and thriving in this world. The kinship I experience with my queer circle is absent of judgment and full of unconditional love. Queer spaces allow more room to discuss, explore, and celebrate identity than I’ve ever seen in nonqueer spaces. It is in those spaces that so many radical ideas about love, identity, and social
A In terms of relationships, I’m scared to share [love and intimacy] with others. I’ve been sitting in my little closet, door half open. I’ve only ever been with men. I do not fear being with a woman. That’s not the case. I’m afraid of what my family will think, what strangers on the street will think. I get intimidated. I don’t want conflict. I simply want to love, freely and whoever I want.
change have been and continue to be born. It’s when it’s desexualized that Brackens believes “Queerness could save the world.” Learning more about a queer paradigm of intimacy—one that shifts the dominant conception of relationships away from the confines of normativity toward an embrace of diversity, fluidity, and possibility—has allowed me to reimagine a queerness without rules. It’s been critical for me for reflect on queer intimacy as I experience it in my current straight-passing relationship as well as my self-love. The love I share with him is not invalidated by, nor does it invalidate, the same-sex love I had before. The intimacy I share with him stems from my ability to live and love as honestly as possible. This same intimacy also exists in my close-knit queer friendships and my exceptionally loyal family. Queer people and relationships can look and love any way they choose to, and that itself makes them queer.
Rachal (she/her) If anything, my self love only grew from coming out. Ever since I’ve been able to openly love who I love I have been able to also openly love myself. I no longer tried to fit in or dress like everyone else.
LOVE GAME
DIRECTORS ANTHONY HUYNH KARLY MADEY STYLISTS ANTHONY HUYNH KARLY MADEY PHOTOGRAPHERS KARLY MADEY RITA VEGA VIDEOGRAPHERS ANTHONY HUYNH RITA VEGA GRAPHIC DESIGNER CAMILLE ANDREW MODELS INDIA HOLLAND IVY LI
Q
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Blazer - Comme des Garรงons Jewelry - Vitaly
THE MYS O
STERY OF VENUS I recently made the decision to get my first two tattoos, a venture I’ve been ruminating on for quite a while now. After much deliberation, and I mean much, I finally decided on two designs; a small skull on my thigh and the Roman goddess Venus on my left tricep. Modeled after the Venus de Milo, the latter takes me back to the stunning sculpture that I practically fell in love with the first time I saw it in the Parthenon room of The Louvre. While I wouldn’t consider myself an astrology aficionado, the fact that Venus is also the ruling planet for Libra, my zodiac sign, further solidified my decision to get the tattoo. Yet who is Venus? Originally associated with cultivated fields and gardens, the native Italian deity lacked many myths of her own, and eventually came to be associated with the Greek goddess Aphrodite. Although the exact reason for the merging between ideologies of the two goddesses is unknown, one theory traces it back to Jupiter’s patriarchal relationship to
Venus, paralleling that of Zeus and Aphrodite. Venus eventually came to adopt many of the symbols commonly associated with Aphrodite, such as love, beauty, femininity, and sex, traits often represented through her portrayals in high art ranging from Hellenistic sculpture to Renaissance paintings. Venus’ feminine likeness is recognizable in a number of famous artworks; one of the most famed and controversial among such depictions is Botticelli’s painting, the Primavera. Commonly believed to be a work commissioned for the Medici family of Florence, the piece is thought to represent a number of mythological figures including Venus (as a metaphor for marriage), along with her son Cupid, Mercury, Zephyr (the god of wind), and his wife to-be Chloris (who would then become Flora, the goddess of flowers). Another one of the most notable representations is Botticelli’s slightly later painting, The Birth of Venus, which depicts Venus emerg-
ing fully-grown out of the sea in a giant seashell immediately following her conception. Her presence stretching across centuries from Roman mythology to her numerous representations in high art and culture is yet another reason that I find this particular figure so interesting. Venus has reappeared throughout history in so many contexts, and continues to be a piece still relevant to many to this day. Quite possibly one of the most venerated examples of Venus’ lasting impact and presence, the Venus de Milo, produced around 100 B.C. is one of the most famous, and mysterious, representations of Venus that we know of today. Standing at a little over six and half feet tall, and notably recognizable for the absence of her two arms, the Hellenistic sculpture is characteristic of the period with her elongated body, spiraled figure covered in detailed drapery, and masterful positioning in three-dimensional space. Housed in The Louvre in Paris since her dis-
covery, the story behind how she got there is one of intrigue, deceit, and mystery. The Hellenistic style and beauty of the Venus de Milo was not as praised at the time of its discovery. Uncovered on the Greek island of Milos in the year 1820 by a local farmer, the statue was sold to the French for what would equal out to approximately 11,000 USD today. Following Napoleon’s first abdication in 1814, a majority of the stolen art in The Louvre had to be returned to their original owners, sending the French into an art frenzy, as they searched for new pieces to line the halls. Similar to the missing arms of the Venus de Milo, the statue contains various other physical imperfections, a detail that only made me further appreciate the beauty of the piece and recognize it as a symbol of resilience. Such as the missing earlobes likely due to looters scavenging for jewelry, or the mysterious absence of a large chunk of the “plinth” to the sculpture, which
would have contained the artists name and date, associating the statue with the Hellenistic period of sculpture. During a time when Classical period sculpture was praised by critics for its connections to ancient Greece and Rome, the Hellenistic period was about 200 years too late for the tastes of the French. Therefore it makes sense that the plinth was lost in the relocation from Milos to Paris, a convenient “accident” that helped them frame the piece as contemporarily fashionable. Part of France’s quest to regain national pride and recognition, the Venus de Milo was praised for her “classical” style, before The Louvre finally corrected the record in the 1950s after Venus had already taken her spot as a national icon. Commonly believed to have been sculpted by Alexandros of Antioch (thanks to the plinth inscription later discovered through drawings of the piece), it is still uncertain whether the statue definitely portrays the goddess Venus. Some argue that it
represents the sea-goddess Amphitrite, a figure widely revered on Milos. Yet due to the feminine curves, delicate drapery, and sensual portrayal, the identification with Venus is understandable. While I’m not someone who believes that every tattoo has to have a deep-seated meaning or represent a belief, this tattoo certainly holds a spot in my heart; whether it be a general appreciation for art and beauty, a link to the stars, a desire for mystery and intrigue, or a reminder that despite any imperfections or perilous journeys, a symbol of beauty and love remains, standing tall for all to see.
WRITER WILLIAM NEUMAIER GRAPHIC DESIGNER SOPHIE LEVIT PHOTOGRAPHER ALEX ANDERSON MODEL JENNA ZWICK
forbidden love forbidden love forbi
idden love
DIRECTOR NATALIA NOWICKA STYLISTS TAVLEEN GILL ABBY RAPOPORT PHOTOGRAPHERS GABRIELLE MACK PAULINA RAJSKI RITA VEGA ALLY VERN VIDEOGRAPHER SAM RAO GRAPHIC DESIGNER HALLEY LUBY MODELS SEHRISH HUSSAIN MIFFY TANI
SCALI
STANDARD
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Perfection is subjective. My idea of perfection is different from yours because it is based in distinctly personal history — molded by caretakers in childhood, friends in adolescence, life partners in adulthood. But during the quarantine summer of 2020 dreams of mere normalcy replaced those of grand allure. A collective switch was realized; we stopped planning extravagant nights in the big city and started coordinating (distanced) walks in the neighborhood. Before the demolition of expectation, perfection was a chosen standard with purposeful unattainability. Most functioned from a dependence on dreaming it instead of actually achieving it, because what then? But boarded restaurant windows and canceled flights forced the reduction of this standard. The uncertainty of tomorrow, next month, next year manufactured a need for certainty in the present. Perfection became smaller and thus within reach because a global pandemic mocked the height of our former caliber. To me, this didn’t feel hopeless. It felt human. The drink you spilt all over me / 'Lover's Spit' left on repeat / My mom and dad let me stay home / It drives you crazy, getting old (Ribs, Lorde) Moments can be perfect if you pay attention. And a society shut down means the redirection of my focus toward the blurry twinkle of a July night and the prickly feeling of bare grass on the soles of my feet. Skip. Skip. Skip. Hmm. Skip. Ah. When Lorde’s Ribs appears in my shuffle of all songs, the corners of my mouth creep upward. I slink down in my seat a bit, comforted by the next four minutes for which my DJ duties are temporarily relieved. The humidity of the east coast summer means a regular back and forth between sweatshirts and socks in the air conditioning, and skinny straps with flip flops outdoors. Realizing I’m uncomfortably lagging on this transition, I tear off my hoodie and shove it beneath my legs as I lift them from the mildewed chair cushion. I can feel my sun-blonded hair sticking to the back of my neck as mosquito bites rise to the surface of my ankles, forming puffy red rings all the way around. My circle of companions stare intently at the fire as if its crackling coals might tell our fortunes. For this one night, staring inward to the wavy orange shape feels better than trying to mend reality’s cracks not far enough outward.
We can talk it so good / We can make it so divine / We can talk it good / How you wish it would be all the time The bonfire is an ordinary sort of magic. It radiates a soulful warmth that distracts me from the superficial stickiness of summer heat on my skin. I look around at faces I thought I had left behind. One of them turns cartoonish as he launches into a tale surely making more sense in his head than mine. Its conclusion nevertheless sends us into a fit of raucous laughter — not from the content so much as the undeservedly confident tone with which he narrates, the disclosure of his utmost belief that what happened was actually really funny. Across the circle, the flames illuminate the storyteller’s emerald eyes, both of which scream his satisfaction at snagging the group laugh. This dream isn't feeling sweet / We're reeling through the midnight streets / And I've never felt more alone / It feels so scary, getting old We were not supposed to have this time together. Yet the security of my friends’ presence is so familiar. Lorde admits ‘it feels so scary getting old,’ but I agree to disagree. The surrounding manifestation of distinctly individu-
al identities does not take away from, but adds depth to the endearingly naive personalities of my teenagehood. We had apprehensively left and now we had reluctantly returned. The song changed; the moment proved fleeting. All that remained were lyrics in my head and a comforting aftertaste of intuitive perfection. I want 'em back (I want 'em back) / The minds we had (the minds we had) / How all the thoughts (how all the thoughts) / Moved 'round our heads (moved 'round our heads) To view the pandemic through a rose-colored lens is to discount the pain felt and the hearts broken. But I do not find fault in looking at the thin rays of light beaming through the window shades of an otherwise dark room. The whole of something need not be perfect if we can find flawlessness in one or some of its individual parts. And if we carry this approach into the normalcy we have yet to return to, maybe we will replace the disappointment of larger scale shortcoming with small-scale satisfaction. You're the only friend I need / Sharing beds like little kids / Laughing 'til our ribs get tough / But that will never be enough.
WRITER HANNAH TRIESTER GRAPHIC DESIGNER MACKENZIE SCHWEDT
DIRECTOR ISABELLE FISHER STYLISTS COURTNEY MASS JAKE SWEAT DHRUV VERMA FERN VICKAIKUL PHOTOGRAPHER FERN VICKAIKUL VIDEOGRAPHER MADELINE KIM COLLAGE DESIGNERS JAKE COURTNEY FRANCES GU GRAPHIC DESIGNER MACKENZIE SCHWEDT MODEL ALISON LI
heartbreak hotline
Pink Dress - Tavariel Designs White Sweater - Aritzia Boots - New Rock
Dear Mcqueen 95, I’m finding myself a specter installed between folds and tangles at the center of a simple white bow. Charting this path amid vintage and conventions my white form withstands those sands but craves a suspension like yours. The glossy pages turn matte, and lengths of fabric deconstruct. Incited by the places we both stretch, the league between joint and joint. I wonder if stretching is what you do, or rather do you constrict? The bolt in your pointed heel finds the same tension as the foot and pedal that made me. May your inky frame inch into my square? One day your opaque material might reveal to me, you could only be free but for the knees, Fold with me. Ardently, Margiela 95
“Alexander McQueen Spring 1995 Ready-to-Wear Fashion Show.” Vogue. Vogue, October 5, 2015. https://www.vogue.com/fashion-shows/spring1995-ready-to-wear/alexander-mcqueen/slideshow/collection.
Alexander McQueen, Look 8
WRITER SOPHIA LAYTON GRAPHIC DESIGNER CARLY LUCAS
Dear Margiela 95, Your tender finds me spectral as well. It is liminal where we coalesce. Perceiving you from the edge of my molten frame only just vulcanized. If I could speak to you I would ask, “may I stand among your audience?” In anticipation of the music like the suspension you refer to. But The crinkles of my form are shifting An audible swish I might say that I am more inclined to constricting. Am I a shroud? Are we doomed? These fears wane as I daydream light flickering over our pair We float and mingle See you soon between the pleats Fervently, Mcqueen 95
Martin Margiela, Look 8
Borrelli-Persson, Laird. “Maison Margiela Spring 1995 Ready-to-Wear Fashion Show.” Vogue. Vogue, November 10, 2015. https://www.vogue.com/fashion-shows/spring-1995-ready-to-wear/maison-martin-margiela/slideshow/collection.
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