THE BARE ISSUE | NOVEMBER 2017
DIGITAL VOLUME 4 | ISSUE 3
DIGITAL EDITOR-IN-CHIEF Maggie O’Connor
IN THIS ISSUE
CREATIVE DIRECTOR Shannon Maiers FEATURES EDITOR Amber Mitchell FASHION EDITORS PRINT Liv Verlande Alana Valko DIGITAL Audrey Klomparens Blake Pittman DESIGN EDITORS PRINT Katie Beukema Xinyi Liu DIGITAL Aliya Falk PHOTO EDITORS PRINT Becca Rudman Benji Bear DIGITAL Mackenzie King
02. masthead
24. nailed it
VIDEO EDITOR Paige Wilson
07. from the desk of the editor-in-chief
30. student spotlight
DIGITAL CONTENT EDITOR Elena Odulak
08. elementary
PUBLISHER Lauren Ayers ACCOUNTS DIRECTOR Sabrina Zayek MARKETING DIRECTOR Carly Dineen-Griffin ADVERTISING COORDINATOR Ellen Toal
14. rihanna promotes inclusion through fenty beauty
34. kurt vile & courtney barnett 40. soul stripped
16. mac demarco
DISTRIBUTION COORDINATOR Christi Suzuki FINANCE COORDINATOR Connie Zhang EVENTS COORDINATOR Allison Powell OUTREACH COORDINATOR Kristin Swad SOCIAL MEDIA COORDINATOR Serena Pergola
Our mission is to inform, inspire and engage deeply with the University of Michiga provide a marketable media platform for students to push the boundaries of what
Index | Volume 4 Issue 3
46. an overview of modest fashion 48. the abstracted body 50. uncovered
64. sheer 68. sole healing 70. monochrome
60. the commodification of art
an campus community at the intersection of student and professional life within the fashion industry. SHEI Digital is intended to t has traditionally been possible within print without compromising the level of quality associated with the SHEI brand.
FASHION Susie Meaney Harry Champion Adam Van Osdol Jennifer Gryka Catherine Marchenko Olivia Gregg Jenny Ruan Juan Marquez Alexandra Plosch Olivia Keener GiGi Garate Jacob Simmons Sean Tran Rachel Schwab FEATURES Alexa Di Luca Matisen Douglas Amber Mitchell Carly Ryan
DIGITAL
november contributors
PHOTO Sam Plouff Dana Dean Rebecca Siminov Robina Ranza Francesca Romano Derrick Lui Julia Dean Tina Yu Ryan McLoughlin
Meredith Sherbin Kelsey Knickerbocker Jessica Peterkins Rosalie Li Constance Blatt Spencer Solit Paris Morris Manraj Toor Kamryn Abraskin Sophia Jaskoski Courtney Orbeine Alexa Deford Molly Shulan Elizabeth Haley Sophie ReVeal Phoebe Danaher Hannah Harshe Maggie O’Connor Mackenzie King Anurima Kumar Olivia Gardella Olivia Keener Lingene Yang Eliz Akgun Aliya Falk Shannon Maiers
VIDEO Lauren Day Andy Regos Rosalie Li Bethany Lehman
Xinyi Liu Catherine Marchenko Warren Lee Claire Plump
DESIGN Carla Borkmann Elizabeth Marics Julia Margalit
Manda Villarreal Sara Groenke Aliya Falk
MODELS Lauren Metz Tessa Rose Adam Van Osdol Jessica Peterkins
Rachel Schwab Zoe Evans Kenneth Joynt Christine Lee
STREET STYLE Check in weekly to see Ann Arbor’s finest street fashion! Link below
http://www.sheimagazine.com/street-style/
THE BARE ISSUE
embracing bodies; rewriting the narrative
written by Maggie O’Connor layout by Aliya Falk
Letter from the Editor | Volume 4 Issue 3
F
o r N ove m b er ’s i ssu e, we focused o n w h a t i t mea ns to be ba re . H ow can we e x p ress fa shi on wi th as l it t le as p o s s i b l e? Wh y a re ou r bo d i es so t aboo? To a c c o mp l i s h the ta sk o f crea ti ng t his is s u e , o u r m emb ers i n vesti g a te d t he co n c ep t o f b are b o th i n th e sense of mi n im a l i s m a nd n a ked n ess. S heer c l o t h i n g has b een a trend f or s ever a l s ea so n s, bu t ma de a huge s t at e m en t t h rou g h o u t New Yo rk Fashion We e k . Ken d a l l J enn er ’s n i pp l es were s e n sa t i o n a l i ze d when she cl o sed Marc Jac o b’s s h o w i n a see- throu g h m ust ard to p . Fa s h i o n m embers g ave th i s t rend a m o re m o d est ta ke by sty l i n g model Ch r is t i n e L ee i n a tra n sl ucen t shi mm er ing d re s s a n d b l a c k b ra l ette [ S h eer, p g. 64]. We a l s o wa nted to ex p l ore h o w fashion can b e u s ed i n rel a ti o n to en v i ro nment . In Mo n o c h ro me, Ph o to g ra ph er Ma ckenzie K i n g c a p t u res Eri ca P i nto on r ainy An n Ar b o r a fterno o n . Pi nto’s seamless co o rd i n a t i o n wi th her su rro u ndings il lu s t r a t es h o w col or ca n be used to make a m in i ma l i st s tatement [ pg . 7 0] . In c re at i n g thi s i ssu e, we w ant ed to t a ke t h e op p o r tun i ty to ex plicit ly in t e r ro g a t e t h e cul tu re o f sha me t hat s u r ro u n d s n u di ty. In h er fea ture The Co m mo d i fi c a t i o n o f Ar t, Ha nn a h H arshe wr i tes h o n est l y a nd b ea u ti ful l y a bout t he
impor t ance of bot h dist ancing o u rs e lve s f rom dangerous narrat ives ab o u t o u r bodies and viewing our selves a s ar t [ p g . 60 ]. Wit h t he aim of embr acing t h e fe m ale body in mind, Aliya Falk and M ac ke n zie King produced a ser ies of black an d w h ite photos in what is t ruly a love le tte r to womanhood [uncovered, pg. 5 0 ] . Wh e n t he pair suggest ed t he idea of c re atin g a nude photo shoot f or t he iss u e , I w as absolut ely t hrilled. As st udent s , w e h ave t he unique abilit y to generat e c o n te n t t hat st ret ches limit s. We hope th at th is shoot is a st ep in rewrit ing t he n arrative of shame t hat surrounds nakedn e s s . As you read t his issue, I e n c o u rag e you to t hink of ways in which yo u c an celebr at e bareness in your d ay-to -d ay. Allow your self to embr ace yo u r b o d y. Take t he f irst st ep wit h us in rew ritin g th e nar rat ive.
elementary
DIRECTORS Juan Marquez Jenny Ruan MODELS Lauren Metz Tessa Rose STYLISTS Paris Morris Kamryn Abraskin Sophia Jaskoski VIDEOGRAPHER Xinyi Liu PHOTOGRAPHERS Anurima Kumar Olivia Gardella LAYOUT Aliya Falk
IHANNA PROMOT
ENTY BEAUTY
W
ithin a makeup industry that’s geared towards lighter skinned consumers, Rihanna was able to effortlessly create a makeup line that embodies messages of inclusion and acceptance. On Sept. 7 at the Sephora in Times Square and on Sept. 19 at Harvey Nichols Knightsbridge in London, Rihanna launched her original makeup line titled Fenty Beauty with the slogan “Beauty for all.” “It is about diversity and inclusivity, but it’s not like that was our marketing plan or scheme. It literally is just my passion,” Rihanna said in an interview at her London launch party for Fenty Beauty. It was her devotion to this goal that made it possible for all of her fans to be included within her umbrella of exciting new makeup products.
TES INCLUSION THROUGH The line features multi-use skin sticks, brushes, lip gloss, and, of course, foundation. Even though all of Rihanna’s products have received stellar reviews, her foundation products have received the most attention due to the number of shades she has created. As advertised on her website, there are “40 boundary-breaking shades” of foundation that makeup fanatics can’t stop talking about. These shades are so unique because Rihanna worked with Kendo Brands to create hues that fit all skintones, especially those that are typically marginalized by the mainstream palettes in the beauty industry. In an interview with POPSUGAR, Rihanna said, “I just also wanted things that girls of all skin tones could fall in love with. I kept saying, ‘There needs to be something for a dark-skinned girl, there needs to be something for a pale girl, there needs to be something for everyone in between.’” Rihanna’s inclusive wish was phenomenally executed through the quality of her foundation products. Her Campus recently published a compilation of 40 photos showing makeup artists, bloggers, YouTubers and fans, each wearing a different shade of Rihanna’s foundation and the results were flawless. Each individual raved about the product and its ability to blend in with their natural skin tone. Not only did the 29-year-old star create 40 shades of foundation, but she also included 30 shades of skin sticks in the collection to cater to the needs of every skin tone. The 20 matte and 10 shimmery shades have multiple functions as they can be used for concealing, contouring, and highlighting. Some fans have even been using the shimmery skin sticks, such as “Trophy Wife,” on their eyelids to add an extra sparkle to their finished look. Rihanna showcased this idea at her London Launch party when she wore “Confetti” and “Unicorn” skin sticks as eyeshadow and “Confetti” as a base color on
her lips. These purple and silver shimmery hues added an extra eye-catching element to Rihanna’s natural glow. While Rihanna’s efforts to create an abundance of different toned foundation and cream skin sticks are a huge part of her brand’s identity, she took the opposite approach with her lip product. Rihanna surprised her fans by only creating one, universal lip gloss: a rose nude shade known as “Gloss Bomb.” Rihanna emphasized the importance of this decision while talking about her line at her launch party. “Lips are a great distraction from the eyes, especially on a rainy day,” she explained. The neutral lip color, paired with the product’s high-gloss shine makes for a classic, yet bold, look. This product also amplifies her theme of inclusion as the practically clear lip gloss will enhance everyone’s makeup look, regardless of skin tone. Many beauty product lines claim that they have options for all skin tones, when they are really only providing consumers with a limited amount of shades to choose from. For example, Estee Lauder’s double wear nude foundation is only offered in 12 different shades. This small range of colors exemplifies this unfair, dominant trend within the makeup industry, which has been geared toward providing a surplus of choices for people with lighter skin. As a result, the majority of makeup lines fail to provide the same amount of choices for those with darker skin. The pop star’s positive influence over the beauty industry is challenging this one-sided approach and providing options for everyone. According to USA Today, Fenty Beauty is “one of the most inclusive makeup lines to date” because of Rihanna’s fierce passion to tackle the problematic and limited selection of skin toned products. Rihanna’s message of inclusion reminds her fans to shine bright and celebrate their uniqueness, regardless of their skin tone.
written by Alexa Di Luca layout by Carla Borkmann
Mac DEMARCO
10.21.17 Ann Arbor, MI, Hill Auditorium
S
tripped of his band members’ keyboard skills and iconic “spicy guitar,” indie musician Mac DeMarco took the stage at Hill Auditorium in a solo concert that proved both his extraordinary and understated talent as well as his ability to entertain an audience by simply being himself. On that warm October evening, the excitement was palpable, as dense as the unseasonable air. A line of people dressed in various combinations of relaxed, retro mom jeans and quirky colors—a perfect match for DeMarco’s signature baseball cap and gaptoothed grin—waited eagerly on the steps leading into Hill. The venue itself, albeit out of sync with Mac DeMarco’s typical spontaneity, was illuminated by a classic, nostalgic orange glow, and a perfect match for the vibe of the concert: calming, intimate, and reminiscent of earlier times. After opener and Ypsilanti native RELLA set the scene with simple yet pleasing beats, smooth vocals, and Old Skool Vans, DeMarco took the stage. Clutching an acoustic guitar, he walked out and greeted the screaming audience with an excited “Aloha!”. After quickly addressing the lack of band members, he had people laughing from the very beginning. Starting with “Salad Days” and asking for help singing, he set the precedence for an interactive evening, one that created an atmosphere not unlike that of a jam session between old friends trying to recall their days in a band together.
In fact, there were many old friends cropping up in his impromptu, audience-supplied setlist. Due to requested songs such as, “Treat Her Better” and “Robson Girl,” each well-known by fans but perhaps not as well-remembered by DeMarco, his humanity was endearingly put on display when he struggled to remember certain verses and ended up repeated others. Contributing to the lighthearted feeling of the evening, he occasionally asked front-row audience members, “was that right?” or, “is that what comes next?” Ultimately, he concluded that, “this is fun; I don’t get to play these old songs anymore,” affirming the idea that began to pervade the room—it was not difficult to feel like we were becoming his friends, reminiscing about old times, and sharing a collective experience in which few people could say they’ve participated. His solo presence is one to be specially noted, both for his ability to maintain a genuine relationship with his audience members and also for the ability of this relationship to touch people in such a simplistically joyful manner. He’s the kind of performer around whom spectators cannot help but smile. Today, it has become a standard for musicians to employ overwhelming theatrics and come equipped with an elaborately planned setlist including choreographed transitions to keep the audience attentive. That is to say, many artists, especially within this genre, could not
“ salad days are gone missing hippie jon remember the days just to tell em so long �
captivate the attention of so many young adults at once as well as Mac DeMarco did. One of the most impressive features of the entire evening was, with the exception of recording favorite songs and some photographs for social media, the audience seemed largely detached from their phones, caring only about that authentic relationship between talented musician and adoring fans. During the second half of his set, when “Ode to Viceroy” was finally requested, he prefaced it with a warning: “Sometimes it’s difficult to do these songs because of the ‘spicy guitar,’” but he humored the begging audience in exchange for a disjointed, yet harmonious chorus of spectators, and he regarded this as a beautiful and worthy substitute for the usual, iconic guitar solos. This was the same singing that persisted throughout the evening, and it was accompanied by each person swaying side to side, the kind of contented, unpretentious dance move that becomes involuntary and is a manifestation of the pure relaxation and happiness elicited by the live music of Mac DeMarco. By the time of his last song, “Still Together,” the room had begun to feel full, retaining all the laughter, delight, and love, to the point where it was possible to wonder how such a goofy man could make a mass of people feel so many things all at once. He inspired his spectators to feel, to effortlessly exist, and to be present. Effectively, Hill Auditorium became
a worry-free zone full of simple and touching melodies. For his encore, DeMarco opted to conduct his own “repeat-after-me” music class, where he sang and asked the audience to sing back to him. This moment was touching, humorous, and extremely entertaining for DeMarco, and it culminated in his favorite activity of crowd surfing; because what is a Mac DeMarco concert without it? Impressively, the audience began to amass on the left side of the room, all hoping to support him, and without a band, the music of excitedly chattering fans took its place. He eventually made it to the top of the aisle, near the exit, before taking the time to walk back through a throng of hands and hugs to the front of the stage to finish his last song. This night was proof that Mac DeMarco is without a doubt someone special. He commands attention, yet does not ask for it; he’s an extremely talented musician, with a voice akin to perfection, yet he does not take himself too seriously. He is a man who tends to emphasize life’s joys and humors over its losses and pitfalls, both in his stage presence and his music. By the sad moment he exited the stage, the audience, full of DeMarco’s newfound friends, was already anxiously awaiting his return.
written by Matisen Douglas photographed by Matt Stanley layout by Aliya Falk
DIRECTORS Adam Van Osdol Jennifer Gryka MODELS Adam Van Osdol Jessica Peterkins Rachel Schwab STYLISTS Rachel Schwab Meredith Sherbin Kelsey Knickerbocker Jessica Peterkins VIDEOGRAPHERS Andy Regos Rosalie Li PHOTOGRAPHERS Robina Ranza Francesca Romano Derrick Lui LAYOUT Aliya Falk
NA NA N
AILED IT AILED IT NAILED IT
STUDE
ENT SPOTLIGHT: RELLA
A
senior in the University of Michigan’s Penny Stamps School of Art and Design, Chris Terrell drew a lot of attention when he was granted the opportunity to open for Mac Demarco at his October 21st show in Ann Arbor. We spoke with Chris to hear about his experience, his process, and his inspiration.
Instagram: @rella-music Website: www.rellamusic.com
AM: Where are you originally from? R: I grew up in Ypsi not far from campus. AM: What is the focus of your art/What are you doing for your thesis? R: My interest in art changes often, but I really like the idea of making spaces. For my thesis, I am planning a video installation. AM: Can you tell me a little about your process? R: I’ve written just about all of my music in the car. It’s a place where I can be alone, reflect, and collect my thoughts. I open the voice memo app on my phone and think out loud, sometimes a song comes out of it. AM: What about music? How did you get into this? R: I started writing music and performing in
high school, but I have been singing since I was kid. It’s a hobby I never grew out of I guess. Coming up in church, the music was always my favorite. Gospel is pretty much all I could listen to when I was younger, so I think it has really shaped the way I hear melody. AM: What was the experience of opening for Mac DeMarco like? R: It was my first time in Hill Auditorium and I was taken back by how great everything sounds there. My friends always talk about how perfect the acoustics are. I definitely want to see more performances there in the future. Mac was super down to earth and friendly. I didn’t know a lot of his music until the show, but he made a fan out of me. During our sound checks he borrowed my guitar pick and used it for rest of the night, which was pretty cool for me.
written by Amber Mitchell photographed by Shannon Maiers layout by Aliya Falk
KURT VILE & COURTNEY BARNETT 10.30.17 | Royal Oak Music
Theatre
A
t first glimpse, Royal Oak may seem to be little more than a cozy city perfect for a brief stroll and a cup of coffee. However, on the rainy fall evening of Monday, October 29th, it became a haven for indie rock fans looking forward to seeing Kurt Vile and Courtney Barnett perform together. Despite the cold, wet environment, people were lined up and ready to go in advance of the doors opening, chatting enthusiastically with each other about the songs and albums that have meant a lot to them throughout their lives. Although each artist can draw quite a crowd for their solo endeavors, the release of their collaborative album, Lotta Sea Lice, on October 13th has drawn considerable attention for its beautiful amalgamation of their separate styles.
Judging by the energetic atmosphere present in the intimate space of the Royal Oak Music Theatre, people were thrilled about the joint album, many happy to have the unique opportunity to see two of their favorite artists work together. Right at 8 pm, the lights dimmed and Jen Cloher, Melbourne based artist and the wife of Courtney Barnett, took the stage with her acoustic guitar. She was sporting a casual ensemble and appeared as if she was approaching the audience for an intimate conversation rather than for a performance. Her choppy, dark hair hung in front of her face as she sang about the difficulties of long distance love and the beauty as well as the flexibility of being a woman. The conversational vibe refused to fade, however, as Jen told anecdotes about her childhood antics
and time spent at home during Courtney’s tours. As she exited the stage at the end of her set, the audience was left feeling connected, almost as if they knew her personally. After a few quick moments for arrangement and tuning, Kurt and Courtney took the stage, looking strikingly similar with their unbothered brown hair and laid-back outfits. Launching into “Over Everything,” a favorite off of their collaborative album, the pair immediately responded to the enthusiasm present in the room. Stopping only occasionally to express appreciation to the audience or to explain the inspiration for some of the songs, they made significant ground on the 9 songs of Lotta Sea Lice, playing tunes such as “Continental Breakfast,” “On Script,” and “Fear is Like a Forest.”
Despite being released a little more than two weeks prior, fans appeared to know the words to the songs on the album and sang along to every word. It was clear that this show wasn’t about their individual careers, with each artist contributing equally, even playing and singing during the few instances in which songs from their solo albums were performed. Vile’s well known “Pretty Pimpin’” and “Life Like This” were performed, as well as Barnett’s “Avant Gardener” and “Out of the Woodwork,” all to the elation of the attendees. Although the set was short and sweet, it left the audience satisfied and lingering comments about the excitement of the evening could be heard as fans slowly began to leave the venue.
written by Amber Mitchell photographed by Ryan McLoughlin layout by Aliya Falk
DIRECTORS Harry Champion Susie Meaney MODELS Zoe Evans Kenneth Joynt STYLISTS Sean Tran Gigi Garate Jacob Simmons PHOTOGRAPHERS Sam Plouff Dana Dean LAYOUT Aliya Falk
SOUL
STRIPPED
Tan Duster Coat - Urban Outfitters Private Label Pants - J Crew
Turtleneck - J Crew
Camel Hoodie - Urban Outfitters Private Label
an overview of modest fashion P
roject Runway, the popular reality television show in which aspiring clothing designers compete for prize money to launch a fashion label, began airing its 16th season this September. The show brought back its original format, but added a new twist to the lineup of designers by including Ayana Ife. Ife is a Muslim woman with a distinct aesthetic that complies with the directives of her religion, a style that she describes as “modest.” Growing up, Ife found it difficult to find flattering and stylish clothes that conformed to her dress code and in response, she decided to make her own. Although modest, Ife’s garments are not shapeless or bland like the word might suggest. Instead, her artful designs take advantage of her sewing and draping skills to ensure her desired look. Working within these parameters, Ife has had success on Runway, winning at least one challenge to date and gathering praise from judges that include industry insiders from Marie Claire Magazine and Brooks Brothers. It is perhaps no coincidence that Ife’s modest aesthetic aligns perfectly with current trends in the fashion world. Dressing modestly is “in” again and along with it is a changed political message.
The definition of modesty itself can often depend upon the culture and it means many different things across the world. In fashion, modesty has taken a variety of forms over the years, depending on the time period and culture. In its simplest form, this type of fashion typically refers to clothing that covers as much of the body as possible, including long skirts, long sleeves, and high necklines. Modest fashion has come in and out of style, following a somewhat circular cycle. Along with these changes in style, political messages have changed alongside it. In the United States, the end of World War I in 1918 brought the first wave of excitement and independence for women. The roaring 20s encouraged women to embrace their freedom in a way never before seen and women’s clothing began to carry their message of independence and became much more provocative as ankles and arms were bared in the flapper style. Over the next several decades; however, trends began to shift again. World War II constricted supplies and fashion took a back seat as the world struggled to survive. Women had to take on jobs previously reserved for men and, as a result, clothing began to reflect masculine style, sometimes even resembling uniforms. In the 1950s, one’s clothing held a representation of class and social standing. Typically, upper class women covered up with sweater sets and pearls, while their lower class contemporaries tended towards tighter sweaters and shorter skirts. Although somewhat due to the circumstances of the war, modest fashion had again completed a cycle, reverting to a more modest look in the 50s after the provocative style of the 20s. Although it seemed as though modest fashion was there to stay, eventually the fashion trends began to shift all over again. In the 1960s, a woman’s skirt typically fell just above the knee and
as the decade closed, hemlines rose. The miniskirt was soon a fashion staple in the 60s, commonly attributed to Mary Quant and Andre Courreges. Fashion was beginning to play a more prominent role in popular culture, inspiring all sorts of people to adhere to the newest trends in style. The political unrest during the 60s in America was reflected in style as well. How one chose to dress often reflected their political views, especially as women and people of color fought for equality across the country. In the 1970s, fashion trends changed yet again, this time drifting to an acceptance of more unisex clothing. Even as social mores loosened, aspects of the fashion world began to revert to more modest trends with an introduction of long, bell bottom jeans worn by men and women alike. Long, flowing skirts marked the decade and differed sharply from the much shorter, tighter styles of the 60s. The 1980s and 1990s continued the more modest trend with the preppy era devolving into an emphasis on comfort with much less of a focus on style. The message here was slightly less clear, but style allowed for a combination of modest and immodest clothing, stressing the importance of how one feel in their clothing. Since 2000, mainstream fashion has become increasingly bare. In 2014, for example, Rihanna wore an almost entirely sheer Adam Selman dress to the CFDA Fashion awards show. While Rihanna’s dress was a particularly extreme case, throughout the 2000s, extremely tight clothing and styles showing more skin became the norm. Leggings went from undergarments to pants. This acceptance and encouragement of nudity in fashion became not only a trend in style, but a political statement. In “Girls & Sex,” Peggy Orenstein writes about young people feeling pressured by popular culture and pornography to dress and act sexually. Orenstein goes on to explain how a shift
in culture has recently taken place where women are now choosing to dress provocatively as a way to empower themselves and claim this sexuality. In other words, women are no longer simply objects of sexual desire, but have claimed sexual power of their own through fashion choice. In 2017, as the decade draws to a close, it appears that the cycle is again shifting and modest fashion is back. For the past few years, high necklines, long skirts, and loose fitting clothing have made their way back to the runways and the racks, this time carrying a new political message. Rather than making a statement about purity or class, current modest fashion represents empowerment for women. The message is clear, each woman will choose when and where to reveal her body in whatever capacity she decides. Women are taking control and using the newest shift in style to represent their beliefs. Back on Project Runway, Ife is a perfect example. Her designs reflect her specific needs and those of her culture: she is in control. However the trends shift in the future, one can assume a new and improved political message will come with it.
written by Sophie ReVeal layout by Elizabeth Marics
The Abstracted Body
Whose bodies are considered in clothing design?
T
his summer, I walked into my Introductory Fashion course at the Parsons School of Design with a goal: I was going to make a velvet smoking jacket to wear around the house and pretend I was Sherlock Holmes or a member of secret billionaires’ club. So imagine my surprise when I learned that the entire summer program couldn’t find a single dressform, the object used to make garments, in my size. I wear a dress size 8, which is below the national average of a size 16-18. I knew that plus-size women (a larger demographic now more than ever) are constantly ignored by the clothing industry, but I never really understood how bizarre it was that an average body could be deemed “too big” until it directly impacted me and my dream of a sweet smoking jacket. In one of those “It Happened to Me” moments, I was now considered too large for anyone at the school to want to dress. Parsons explained that its selection of dressforms was in accordance with the industry standard, which is to make clothes for runway models who wear a pattern size 6, which in real life is closer to a 2 or a 4. They did not, apparently, think that a student would want to make clothing that wasn’t intended for the runaway and its standards. But here’s the weird thing: no dressform looked like a human body. The idolized size 6s, with their dates of manufacture printed on the bottom, didn’t even have the slope of a bottom for most of the 2000’s models. The back continued down and became the skirt. Only the newest models had modest butt cheeks in accordance with their being “in,” as if the parts of a human body can be added and discarded like passing fashions. None of the dressforms could be adjusted to reflect different breast sizes, a diverse variable that many of us wish were considered when we try to buy button-up shirts. Clothing sizes are supposed to represent an average of many
different bodies, but the dressforms on which clothing is designed are not representative of the genuine population, and to be honest don’t look much like any human body I’ve seen even on the runway. So what is the role of the body in fashion? Is the model’s imagined body a part of the outfit? Is yours? Clothing only exists to be worn by a person, so you would think that it is designed for a person. But it is not, if the clothing we see on the runway and in stores is any indicator. Of course, the wearer’s body is an important equation in an outfit. Otherwise, fashion shows would send outfits down suspended with fishing line from a moving track on the ceiling. That would be cool, but wouldn’t really show you the most important thing about clothes: how they are worn. One thing I know for certain: the average body is not meant to be a part of fashion. Why else have models who are all so outside of the American average that clothes have to be redesigned between the runway and the distribution line? If the fit of my jeans is any testament, designers don’t consider that someone may have thighs like honeybaked hams and shins like a London punk who eats speed for breakfast. The consumer above a size 4 is seen as a problem for fashion, not the industry’s largest demographic. How many times have I tried on a piece of clothing, and when it didn’t fit me, concluded that it was my fault? Too many times for that conclusion to be true. If, instead of misting up in a Banana Republic dressing room, we demand that clothing manufacturers make clothes for our bodies and not for vague abstracted versions of them, we’ll have some progress in the fashion world. And maybe in the meantime I can find a dressform with thunder thighs so I can make that smoking jacket.
written by Phoebe Danaher layout by Julia Margalit
u
uncovered
PHOTOGRAPHERS Mackenzie King Aliya Falk LAYOUT Aliya Falk
The Commodification of Art I
n the often told biblical story, it was their nakedness that caused Adam and Eve to hide from God. Or rather, it was awareness of their nakedness that caused them to hide. God formed Adam from the dust of the ground and breathed into his nostrils the breath of life. From Adam, God formed Eve–an ezer, a rescuer, a strength for Adam. God did not clothe Adam or Eve. He molded their bare skin, the hair on their flesh, and the curves of their bodies. He created them, naked, in his image. He saw all that he had made and saw that it was very good. God told Adam and Eve not to eat from the tree of the knowledge of good and evil, but, of course, they did. As the story goes, this knowledge made them aware of their nakedness and they became ashamed as a result. This is known as the fall of humanity. Adam and Eve sewed fig leaves together and made coverings for themselves, hiding from God among the trees. What exactly about their naked bodies did Adam and Eve learn to be ashamed of? What is the inherent shame that the apple showed them? Was it even meant to be a story about physical coverings, or was it meant simply to remind us
that God can see us fully? Regardless of the reasons behind it, this shame of the human body is a critical force behind our culture today. Our culture has provided us with a skewed view of our own bodies. It seems we have not yet learned how to look at a body, particularly a woman’s body, without objectifying it. Our culture treats female bodies as objects capable only of providing men with sexual pleasure. Certain forms of sexual harassment are perceived as “normal” because we have never known anything different. We can’t imagine a world that doesn’t exploit women–a world where no one catcalls and men respect it when a woman doesn’t want to dance with them. A woman’s body is seen first as the subject of the male gaze and second as the vessel in which the woman exists. Our culture acts as though there is no humanity inherent in the human body. Instead, it tells us that when we are clothed we are humans, and when we are not, we are mere commodities. My grandma is an artist. She graduated from the University of Michigan School of Art and Design in the late 1960s, back when Ann Arbor was
the hub for the Vietnam War protests and Bo Schembechler was the football coach. She taught me about nakedness, explaining the brushstrokes that God used to create my body in his image. Every year during Easter dinner, I looked across the table to the four canvases hanging up in her living room. On each of these canvases was a naked woman, painted by my grandma just as God had painted me. I didn’t see the shame in this nakedness until I was old enough to understand that I was supposed to. As a child, the woman was simply art, a part of nature, like the birds in the air dressed in nothing but the feathers that grow out of their bodies, and the lilies, beautiful in and of themselves without a cloth draped over them. On Thursdays, my grandma gave me a charcoal pencil and taught me about the human figure. There was no talk of good or bad, or of one body being prettier than another, or of “this is how your body will look if you keep eating like that–so be careful.” From my grandma’s point of view, our bodies were God’s art, not products for us to criticize. Here are the terms by which I viewed the human body: The wingspan, generally the same distance from fingertip to fingertip as there is from toes to the top of your head. If the distances are different, that’s an artistic choice.
Top to bottom of leg is typically half the height of the body. The body folds and turns and moves in all sorts of different rhythms and directions, and the ears are the shape of a question mark. That is the first lesson I learned about my nakedness. The second, I learned at Victoria’s Secret. I was fourteen and had just bought my dress for my first high school dance. The dress was short and red, and I was going to pair it with sparkly silver heels and a silver bow in my hair. It was also my first strapless dress, which was why I was at Victoria’s Secret: I was going to need a strapless bra. Nora, a young woman with tortoiseshell glasses, held a tape measure around me. The walls were covered in a nakedness I wasn’t familiar with. Everywhere I looked, there were photos of women whose humanity had been airbrushed away until they were nothing but a mannequin to hang underwear on. Despite different hair and skin colors, they all essentially looked the same: long, lean legs, visible abs, toned arms. They didn’t reflect the diverse kinds of bodies my grandma had told me about. Instead, they begged me to give up on diversity and, instead, to try to look like them. As I contemplated these pleas, Nora told me to follow her into the fitting room. Then I was: alone, topless, and staring
at my reflection in the mirror. Except I wasn’t entirely alone, because the bodies of the women framed throughout the store were still imprinted in my mind. In this mirror, with the bubblegum pink wall behind me, my body did not look like a work of art. It was simply a lesser version of the pictures I’d seen on the walls. The paleness of my belly, the fat that bunched up over my belt and spilled onto my sides–these were no longer God’s artistic choices. These were flaws. I felt a strong urge to put my clothes back on. Perhaps it was the same urge Adam and Eve felt after they ate the apple. Perhaps it was that same shame that has been passed down generation after generation. I pulled the strapless bra over me and pressed the button so Nora could come examine me and tell me if this bra covered my bare skin correctly. I sucked in my stomach and looked at the four framed bodies across from me. They were staring at with their airbrushed pouts, threatening me, showing me what I was supposed to look like. I understood their message instinctively. My nakedness was shameful because it was not like theirs. When Nora gave her stamp of approval, I quickly put my sports bra and t-shirt back on, ready to leave the store.
Here we come across a fork in the road. Seventy percent of girls between grades five and twelve say that their idea of the perfect body is influenced by photos of celebrities in magazines. Fiftyeight percent of college women feel social pressure to maintain a “perfect size.” Which narrative will we embrace about our naked bodies? Will we promote the narrative of shame, telling our sisters and mothers and daughters that their bodies are unwanted, that they are products in a market where only perfection is demanded? Or will we look at ourselves as art, as my grandma does? Stand straight up in the mirror and adore the masterpieces in front of us. Wide brushstrokes, thin brushstrokes, different colors of paint, all so utterly, remarkably beautiful. These are our bodies and we must choose what story we will tell about them.
written by Hannah Harshe layout by Manda Villarreal
DIRECTORS Alexander Plosch Olivia Keener MODEL Christine Lee STYLISTS Courtney O’Beirne Molly Shulan Alexa Deford Elizabeth Haley VIDEOGRAPHERS Warren Lee Claire Plump PHOTOGRAPHERS Olivia Keener Eliz Akgun LAYOUT Aliya Falk
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Sole HealinG F
rom the combat boots everyone had in 2013 to the quilted leather sneakers seen running to class today, everyone knows shoe designer Steve Madden. But while his creations inhabit seemingly everyone’s closets, few know his transformation from college dropout, to prison inmate, to living legend. In a Q&A with Amy Levin, founder of College Fashionista, a digital community for students looking for careers in the fashion industry, Madden revealed his unconventional story to kick-off the premiere of his new documentary, Maddman. After he “just went crazy” in college at the University of Miami, Madden found his place in a shoe store and said that retail experience has proved to be the most integral to his career. “I loved the shoes. I was instantly attracted to why certain styles were popular and some weren’t,” Madden said. After years in the business of selling shoes, 31 year old Madden decided he wanted to start his own business, large or small. “I just wanted to direct my own future,” Madden said. “I had just had it with bosses. I had learned a lot from the people I worked for, but it was just time for me to do it myself.”
Steve Madden's Story Comes to Campus A decade after the company’s founding, however, Madden found himself in some deep water. Madden was arrested for money laundering and securities fraud, landing him 30 months in prison, an experience he could only describe as “terrible.” With the release of the blockbuster film, “The Wolf of Wall Street,” Madden found his story being told very publicly. Despite the publicity of what he called one of the darkest times of his life, Madden said he was able to turn the experience into something productive for his brand. “It’s soul crushing, but if you use the time wisely, if it doesn’t break your spirit, you can do some things that can help you gain perspective,” he stated. In prison, Madden was known for helping encourage entrepreneurship. Surrounded by people who were imprisoned for selling illegal goods, Madden taught inmates how they could translate those entrepreneurial skills into something productive and worthwhile. Today, mentorship still plays a large role in his life and he advised students interested in going into business to take philosophy courses, saying that learning about how people think is one of the most important aspects of his career.
“It is so important to understand how human beings work,” Madden said. After applying these philosophies, Madden found he had created something really notable, spurring the idea to make a documentary about his journey, prison and all. Inspired in part by “The Wolf of Wall Street,” they began filming his creative process, rendering him very vulnerable. “A lot of us do interesting things and we thought that maybe someone should see this,” Madden said. Today, having rebounded in full from his time and prison, and having learned from his past, Madden is still renowned and relevant –– so relevant that he was able to look out into the crowd and recognize multiple styles of his shoes by name. Citing pop culture (specifically Cardi B) as his inspiration, Madden said the key to remaining relevant is remaining a little on edge. “I’m driven by that fear of not being relevant –– I’ve always been breathless. Now that I’m older, it’s harder to conjure up that insecurity because I’ve had a lot of success, but I still have it. It’s internal and it drives me. I taught that to my team and it keeps us going. We’re insecure, we never like to sit back.”
written by Carly Ryan layout by Sara Groenke
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monochrome DIRECTORS Catherine Marchenko Olivia Gregg MODEL Erica Pinto STYLISTS Spencer Solit Rosalie Li Constance Blatt VIDEOGRAPHER Bethany Lehman PHOTOGRAPHER Mackenzie King LAYOUT Aliya Falk
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