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SydneyRosaLidiaEveMalenaSorenSophieMarlaLilimarieJorgePhotographerAlbaTeamAdrianaHaneenIsabelAssistantBeyoncéCoordinatorCesarNatalieAssistantAllisonVeronicaCREATIVEJohnEricAinoaAdrianLuciaAssistantMarcellaMichaelEditor-in-ChiefVianeyMelanieEDITORIALPujol—Editor-in-ChiefLadróndeGuevara—AssistantLeggett—BlogDirectorThomas—BlogDirectorCasas—EditorMarvin-Ramirez—StaffWriterDorrego—StaffWriterMartinez—StaffWriterKopp—StaffWriterGiraldez—CreativeDirectorJon—CreativeDirectorPadron—FashionDirectorTijerino—Men’sFashionHorton—On-SetProductionBarros—On-SetTeamMemberSiddiqui—MakeupArtistBarrios—Photo/VideoMemberLuciaLepeSoriano—Echevarria—PhotographerQuintanal—PhotographerMcLeod—PhotographerBolivar—PhotographerKnippen—PhotographerFernandez—VideographerEspinosa—GraphicDesignerDelgado—GraphicDesignerMendoza—GraphicDesignerDiana—GraphicDesigner KimoraEXTERNALMiller—External Director Mia D’Orazio — Castings Ashley Torres — Social Media Team BaxterMemberNeal — Social Media Team DaphnaMemberEldar — Social Media Team EugeniaMemberScheuren — Social Media Team FatimaMemberBaussaure — Social Media Team DimitriMemberMitchell — PR/Marketing Team DominiqueMemberPineda — PR/Marketing Team SebastianMemberCalonge — PR/Marketing MichaelTeam Fernandez — Bookkeeper 42
STRIKE STAFF 43
TABLE OF CONTENTS 5 DUALITY OF LOVE 88 DUALITY OF REALITY 7 The Unspoken by Vianey Ladron de Guevara 86 Order and Chaos by Adrian Ramirez 76 The Invisible Line by Eric Martinez 44
TABLE OF CONTENTS 29 DUALITY OF BEAUTY 31Pursuing Authentic Perfection by Ainoa Dorrego 58 DUALITY OF COLOR 56 A Symphony of Shadows and Light by Jonathan Kopp 50 Her Coloring Book by Vianey Ladron de Guevara 45
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Inthisworldinsideaworld,she couldbewhoevershewanted.She wasanartist,andthemundanity outtherewouldneverseepinto thisspace—ithadnopowerhere. Shewasastoryteller,avisionary, abusinessperson,andacanvas. Shewasachildinaplayground, andthis—washercoloringbook.
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ofbluefromthehoursbefore. Sometimesitwantedtoshow out,thegoldhittingherskin,the splotchesofpurpleandpeach throughouttheentirespace,and thestrokesofpaintinformsof cloudsdecoratingthesky.Itwas fascinatinghowtheskycould just“do”that.Shefoundcomfort inthat—itdidn’tmatterwhat happenedbefore7PMthatday. Everyonewasscurryinghome, exhaustedfromthelaborious activities,readyforittoend. She,however,lovedhowintimate theexperiencefelt:itwasjusther andthecolorsthatshowedout. Butnottoday. Thepowerwasout,withnoin tentionofcomingback,waterfillingtheroads,andall therewas—wastheillumi nationofoccasionallighting strikesflashinginsideherroom. Noneofthatmattered,though. Thesewoodendoorswerewhere themagicreallyhappened. Shepushedasidethedoorsand skimmedtheinside.Therewere pastels,visualnoise,vibrant hues,andmutedneutrals.There wasruggedfabricsandsmooth silks.Therewereflashesof memoriesasshetookalookat eachpiece,swayingsoftlyasshe passedherfingersoverthem. Itwasthefirsttimeseeingher favoriteband,orthatoneoil stainonherfavoritejacketthat causedhertomopeuntilshe-re alizeditwasanaddedstatement.
hereTwassomethingso comfortingaboutthe slidingwoodendoors infrontofher—something aboutthefamiliarityofher-fin gersgrazingthedoorknobs.She knewthatinsidethosedoorslay aworldthatshecouldlose-her selfin,withnoneedtofaceany oftheproblemswaitingoutside. Nottheupcomingexams,orthe impendingconversationshehad yettohavewitheveryoneonwhy thereweren’tanswerstotheirmes sages,ortherealizationthatshe
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HERCOLORINGBOOK
ByVianeyLadróndeGuevara maybewayinoverherheadfor thisnewchaptercomingup,and mostcertainlynottheragingthun derstormthatforbidherfrom-leav inghomeandgoingonthatwell-de servedwalktowatchthesunset. Aspotwheretherewasnoob structionoftheview,onlyherand whateverperformancethesky hadforherthatevening.Some timesitwastimid,andtherewasa slighttintofyellowandremnants
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pointsnon-threateningtulle,namely.Indicativeofherpresence,colorfurthertranslatestheessenceoftheEgousingtonessuchasneutralsandgraysastheysignifyambiguity,andcompromise,andareviewedasatokenofnegotiation.Thisinconjunctionwithfree-flowingsil-houettespromptingimagesofbalanceandsymmetryinanenigmaticapproachfurtherconveysherpursuitofequilibrium.Atrinityexistsinallofus.Themodernwoman,inparticular,facesaprominentchallengeinnegotiatingheridentitytofindherstanceinourhyper-evolu-tionaryworld.Allthreecoalesceprojectingheridentityasshediscoversitsmetamorphosisalongsidethatofsociety.Throughconflictandcompro-mise,shecastsouthermarktodefineheridentityinaconstantstateofinternalopposition. 55
experimentwithvisualnotionsof powerandstructurethatenrap tureitsviewersinasortofdeca denthypnosis?Theanswerisboth asitselusiveanswerisasambiguousas decipheringthecolorofiridescence. Atlast,theEgoisthemediator tornbetweentheesteemedcon venienceofconformityandthe pleasureentangledinthesubmis siontoone’sownimpulses.-Fem inine,howevernotquiterigid, sheisgraceful,poised,and,over all,wellbalanced.Whilethe Egooftenresemblesequipoise betweenhertwocontenders, sheoftenappearsinsoft-spo kensignifiers.Transparencyisa prominentfacetoftheEgothat isreflectedinsheerfabricssuch asmuslin,chiffon,and
Idwhisperssuggestivenotions ofemployingsharpandandrog ynousformstotheuser.Playing withtheconceptof“displaced” masculinity,sheconfrontsthe malegaze,condemningarchaic notionsofsubmissionand-obe dience.Precisely,theIdem powershertoassertanevolved definitionoffemininityinwhich themodernwomanclaims equalpowerashercounter. Precisely,itistheincorporation ofmasculineformsandgarment structuresinherwardrobethat empowerstheusertosubvertobsoleteexpectationsofcompro miseandsufferanceinwhichthe modernwomanprioritizes thefulfillmentofherownpo tentialaboveall.Further,this employmentofmasculineaes theticelementsallowstheIdto advocateforlevelingadisparityin powerbetweenthesexesina postmodernsociety.Vocalizing thisaspirationthroughstyle,she optimizesallureinhope ofaprogressivetomorrow. ContrarytotheSuperego’sten dencytowavertowardstheflight reaction,theIdfavorsafirm stance,fightingforherrightto experienceimmediatepleasure. Assuch,exaggeratedand/or masculineformssuchasthe drop-waistandV-linesilhouettes aswellasgarmentssuchasthe smokingandpantsuit-resem bleherascensiontopower. IsittheId’sinclinationtorebel againstpatriarchalexpectations thatconstituteherappealwhen concerninggarmentconstruc tion?Orisititsfearlessdesireto
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heTaccomplishedwom an:atermina-con stantstateofredefin ing.Eachdecade'smodelis decoratedwithanewskillset. Sheispowerful,cunning,andre sourceful.Hermind:arefined almanac.Shewearsamask,a paragonofstoicismandjust therightdegreeoftenacity. Beneathitliesthreecor ners,threepoints:the Id,Ego,andSuperEgo. Itisthroughthistriadof dimensions,astrug gleforharmo nyexists.Whilea struggleforpowercon tinuouslyshifts,waves oftensionarise.Asthese wavescrash,afigure emergesonthehori zon;itisheridentity. Infiniterefractionsre flectthemodernwoman’s identityinindividual izedapproachestoselfexpression.Oneinter sectiontakesprecedence initsabilitytoharness fleetingemotionsand perspectivesasthe dominanceofeach pointshifts;person alstyletranscends asfashionprevails. Onthesurfaceliesthe Superego.Tense,observant,and, ultimately,restrained.Monitoring behaviorandimpulses,the-Su peregourgeshertocompro miseimpulsivedesiresinhopeof accomplishingwhatis expected–buthowdoesthis applytoone’swardrobe? TheSuperegoembodiesitselfin varyingdimensions.Hersilhou etteisrealizedbythereserved, ultra-feminineformssuchasthat oftheballoon/bubbleandA-line, appeasingconsciouslongings fornostalgiainreflectionofthe antediluvianpatriarchalcon straintsforwomentobedocileand overtlyfeminine.Suchsoft formsdemonstrateapreference fortheflightresponsewhen consideringthehumanfight-orflightreaction,furtherexempli fyingtheSuperego’sappealto society’srestrictivemoldimposed uponwomen.Texturealsoplays aprominentroleinreflecting themodernwoman’srenegotia tionofherimpulsestoalignwith externalsocialpressures.This canbeseenwiththeuseoflace trims,ruffles,decorativeembroi dery,andcrochetedaccessories tolinkpersonalstylewith traditionalconventionsof thehomely-femalefigure. DeepwithinourcoreliestheId. IftheSuperegoisthe-self-mon itoringangelonone’sshoulder, then,theIdistheantagonisticand rebelliousinstigatorvivaciously contestinganyandall imposedrestraintsthat hindertheattainmentof immediatepleasure.She isdark,impulsive,and delectablydetached fromany silks,texture.stimulationindividual’sTheinsuperimposedinhibitionsprevalentsociety’ssurfacelevelofartificialcomposure.allureoftheIdlieswithinitschaoticmelodyofsheerhedonismthatguidesitspath.Itistheflamewithinherpersonalitythatmanifestsintheidiosyncraticpuncheverywardrobecontains.Precisely,theId’semphasisonmulti-sensoryisreflectedinDuetothetactilepleasurederivedfromtexture-richmaterialssuchasvelvet,furs,leather,suede,andtheIdcomesalive throughitsabilitytoin dulgetheuserin multidimensionalsatisfaction.
WhiletextureistheId’spoison ofpreference,hermesmerizinglysharpandallusivesilhouettes capturecontrolofthetriad,result inginafusionthatexudes-pow er,control,andconfidence.The
ASYMPHONYOFSHADOWS&LIGHT: APSYCHOANALYSISOFFASHIONINTHEMODERNWOMAN
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JohnathanKopp
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DUALITYCOLOR59
Concept:MiaD’Orazio Photography:AlbaLuciaLepeSoriano&LilimarieQuintanal Videography:MalenaFernandez Editing:AlbaLuciaLepeSoriano&LilimarieQuintanal Models:BeyonceHorton,ValentinoBornancini,AnthonyDuarte, MelaniePujol,VeronicaGiraldez,KianaSein Makeup:HaneenSiddiqui Styling:VeronicaGiraldez Graphics:EveEspinosa DUALITYOFCOLOR 58
But,-un tilthen,be freeandwear whatmakes youhappy.61
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Musclesonfemalebodiesarebeingappreciatedasbeautiful,notadistrac tionfromtheirfemininity.Onecanhopetheentertainmentandfashion worldcancleartheirbiasesandconceptsofgenderandcreateproductsand experiencesthatcanbeenjoyedbyanyone.Thewipingawayofthese invisiblelinesandexistingfreefromtheunnecessary jurisdictionandcontrol.Beingabletowear askirtorablazerwithoutfearof ridicule.
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Clothingofthepastwashighlydependentonsex;ourmodern fashionworldhasevolved,butstillshowstracesofthese-differenc es.Fainterlines.Itseemslikeourthefashionworldisinchingto-
wardssingularityratherthanduality;atleastinhowmuchgender determinesyourclothing.Womenhavethefreedomtowearpants. Makeupisusedregularlybymaleactors,performers,andmodels. In2016,JadenSmithwasabletojointheLouis-Vuit tonWomenswearcampaignandfurtheradvocateforthose tooscaredtowearwhattheywant.BothBadBunnyandJaden Smithfoundwaystopush-forwardagainstthecultural ideasofman-withintheircommunitiesand sparkedconversationaboutthe roleofgendernormsin clothing.
Backinmid2010s,Jadenreceivedanoverwhelmingamountof-con troversyandsupportforhisdecisiontoincludewomen’sjacketsand skirtsintohiseverydaystyle.InaninterviewwithNylon,Jadenshared howhewasattemptingtochallengethestrictbinaryassociatedwith fashioninsocietyandtochangethewayblackmenviewfashion.
BadBunnycomestomindasonepublicfigureknowntostepover theseinvisiblelines.In2021,BadBunnyshotforAllureinnails, skirts,andmakeup.Hisshotsandstatementswereoneofthemost themostmainstreamoccurrencesofgenderexpressioninthepastfew years.Sportingdominoshapednailsandbrighthighlight,thesinger combinedhisPuertoRicanheritagewithhisdisregardtothebinary tocreatetwobad-asspieces.BadBunnyrockingablack,buckledskirt isrelevantbutitisntthefirsttimeastarhasquestionedmasculinity.
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Theircounterparts,males,wereexpectedtocoveruptheir bodiesandoozeconfidenceandmachismo.Vibrantcol orswererarelyutilizedandanythingtoofrillywas-disre garded.Menhadtoprecariouslytip-toethelinesof-fash ion,unabletowearwhattheytrulydesired.Beingintune withone’s“feminine”sidewasdefinitelylookedupon unfavorably.Which,evenfurtherencouragedsexismand thedivisionofthesexes.Itisclear,withtheirrespective articlesofclothing,thatthesefashionnormsbroughtan expectedpersonalitywiththemtoo-thattheirmodels andsocietywereexpectedtofollow. Usually,menswear/womenswearshowsappearonthe samedayorwithinthesameweekend.Culturalshifts, though,havepushedthemodernfashionworldto-pur sueco-edshowsinstead;anattempttoachieveamore adrongynousambiance.Showsaredisplayingmore-gen derlessclothing,hiringmorenon-binaryandqueer-bod ies,andredefiningwhatitmeanstobeahumaninabi naryworld.Amongthefashionworld,atleast,designers andmodelsarerecognizingthefriviouslnessofstructure andlimitations.Clothingdependentonthediffering physicalneedsofbothgenderswillstillexist;thosewith breastswillcontinuetohavethesebrasmarketedtowards themandetcetera.Wearenotdenyingthatdifferent gendershavedifferentneedsbutwearequestioningwhy certaincolors,fabrics,andtrendsareonlyviablefor gender.one
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However,itisunfairtosaythat wehaven’tmadestridesagainst thesetraditionalnotionsof-gen deredclothing.Inthe80s,wesaw fashionhouseslikeMugler-revolu tionizewomen’sworkplaceclothes byechoingthesamemasculine energyoftheirmalecounterparts.
Muglerandotherdesignersofthe 80sand90swereexperimenting withwomeninmen’sclothing buthadnotdaredtocommitto thereverse.Thesepredetermined stereotypespushedwomenswear toembracethe“ideal”coke-bottle body,doe-likefaces,and-“taste ful”exposure. Theircounterparts,males,were expectedtocoveruptheirbodies andoozeconfidenceand-machis mo.Vibrantcolorswererarely-uti lizedandanythingtoofrillywas disregarded.Menhadto-precari ouslytip-toethelinesoffashion, unabletowearwhattheytrulyde sired.
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Itwasdecidedanarticleofclothingwasformenoran articleofclothingwasforwomen.Itignored-cultural lysignificantgarmentsthatwentagainstthe-anglocen teredidealofmanorwoman.Colonizationandthe-bi naryweretrulyomnipresentinallaspectsofsociety.
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Whenwebreakdownthesesocially-constructedrules,wecan noticehowtrendsandregulations havetraditionallydiscouragedliberationandfreedom.Countyour blessingsifyou’reabikinifan.If youwerewearingoneinthe50s, youmight’vebeengivena-cita tionbya“beachpatrol”.Women wereencouragedtofollowbeauty trendsthatwereunknowingly causingthemharm.Theunisex movementbirthedlawsagainst menwearingskirtsandheels. Womenweren’tallowedtowear pantsontheSenatefloor;pants wereessentiallyasymbolof maledominanceinthe-work force.Thismightseemarchaic butthelawstooduntil1993. Anuncomfortablyclosedate. Athelisurewearwould’vebeen regardedaslingerie.Hadwenot brokendowntheseboundaries andhadcompaniesnot-market edcomfortovermanufactured expectationsyouryogafitwould getyouintrouble.
Inaway, thesegregationofcloth-ingbasedongendercreatedanevenmoreauthorita-tivebinarybyremov-inganygrayareasurround-inggender. 70
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Menhadtothreadthelines offashion,carefulnottowear anythingoverly“feminine”or colorful,womenwereridiculed forwearing“manly”workattire thathidtheirfigures.This-gen derdivisionhasnotonlycasted limitsontheclotheswe wearbuthas-devel opedintandemwith genderroles.-Gen derrolesweun kowninglyadopt when aforementionedwearingclothes.Menareencour-agedtodisplaytheirmachismoandpowerwithminimalsigns offemininity.Womenare proddedtoembracetheirbeauty andfigurewithaspectsof-mascu linitybeingconcealedaway.It isn’tdifficulttoacknowledge howtheroleofclothinghas evolvedinconjunction withgenderroless. Thetwobounce offone-anoth erinavicious cycle.
Womenswearhad,untilrecently, revolvedaroundthebreastsand bosom;featuresthathighlight thefemaleformand-correspond edwiththe“model”woman. Designersandcreativesignored bodiesoutsideoftheacceptable socialmold.Males,too,were boundbythesesocialchains. Malefashionhadtraditionally turnedawayfrombrightcolors, newsilhouettes,and,frankly, creativity.Malefashionwasan extensionoftheworkforce andtheclothingpieces-re flectedthis,variations ofthesameblack suitwerethebulk of
tracts.menswearcategoriesfordecades.Bothsidesofthebi-narywereundersiege.Bothstuckinunspokensocialcon-
Maleeither.fashionhad-tradi tionallyturnedawayfrom brightcolors,new-silhou ettes,andhonestly,-creativ ity.Malefashionwasan extensionoftheworkforce andtheclothingpieces reflectedthis,variationsofthe sameblacksuitwerethebulk ofmenswearcategoriesforquite some identitytime.Genderandexpression havehadlittleroomtoflourish undertheshadeofgendernorms. Fashion“rules”,toxic-mascultin ity,homophobia,andsexism punishthosewhostepoutside thecurrent.Theperpetuationof gendernormsandthe-reinforce mentofstereotypes,too,areby productsofthisenvironment.
Womenswearhas,untilrecently, placedemphasisonthebustle,waist, andbosom;featuresthathighlightthe femaleformandcorrespondedwith the“idealwoman”.Itdoesn’tstop therethough.Males,too,aren’t freefromthesesocialchains
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Male.Female.Whoisdrawing theseinvisible,yet,solidlinesin theworldoffashion?Theworld wasintroducedtothefirstfashion weekinParisin1868;agrand-cel ebrationforbothmenswearand womenswear.Theintroduction wasnotjustfortheclothing butitwasalsoan-introduc tiontothedivisionofcloth ingbysex.Theindustry followedsuitand cementedthegender binaryinfashion. Infact,mostfashion showsfollowtheoriginalmodelofthefirst 1868showcase.From itsinception,runway showshaveheldabias andexpectationfor whatamanshould wearandwhatawom anshouldwear.They havebeenseparate. Though,itisunfair tostatethat hasdeprogrammingourofthesenormsbeenstagnant.
Yearsofprogresshasstartedto tweakthesearbitraryrulesand theoutcomeshavebeen-revolu tionary.Societyhasconstructed averynarrowfewofgender-iden tityandexpressionand,along withit,amyriadoffashion“rules”. Rulesthatservetoperpetuate gendernormsand-rein forcestereotypes.
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OrderandChaos,whileopposites, canworkintandemaswell.In fashiontherearestylesthat-em brace“halfandhalf”lookssuch aswearingconventionalitemsand colorsononesidewhileonthe othertheywearsomething-uncon ventionaland“outthere.”There areevenhairstylesthatarebased entirelyonhavingpartofone’s hairbemessyandunrulywhile theotherispristineandstyled. Whetherit’sorder,chaos,ora bitofboththatstirssomething withinyou,onecanonlyever answerthatquestion-them selves.Thereisnodefinitive answerastowhichwillbringus truehappiness.Somethrivein theindifferentwildsofchaos, somecrumble.Somecravethe safetyoftheordained,others buckleunderthepressure. Willthewarmembraceof orderputyouatease?Orwill itbegintochoke,pushingyou towardsthereleaseofchaos?
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Chaosisseenastheinherentoppositeoforder.Itcanbeequatedtothe lackofcongruency,symmetry,andwhatevercanbeseenasconventional. Itisoftenseeninanegativelight.Somethingtobeavoided.Thoughmost trendsandadvancementsinfashion,styles,anythingreally,havespawned fromsomeonebreakingofffromwhatis considerednormal.Thereisanallure that-emanatesfromchaos,the unknownandunconventional.
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thedullingofa blade.Though,in spiteofthatwarmth, theremustbeareason whythosewhospendtimeinthe elements,inourancientproving grounds,feelasthoughtheyhave changed.Youspendsometimein thewild,exposedtothevast-indif ferenceofnature,andyoufeelas thoughsomethinghaschanged. Somethingwithinhasstirredandit isalmostasifourprimalinstincts arecallingtoustoembracethe chaosanddisorderthatitetched sodeeplyintoeveryfacetofour naturalworld.Wereweasaspecies destinedtoliveunderthespellof order?Designedtoweanoffour wildinstinctsandbecomewhatwe arenow?
Orderisawarm,maternalgraspthat-reas suresusaswetakeeach steptowardourdestiny,whatever itmaybe.Weareoftentoldthat symmetryandperfectionequate tobeauty.Ordercanbeseenasa safetynet,astandardofbeautythat feels“safe.”Clothingandhairstyles thatfollowwhatiscommonlyseen andagreeduponasbeingtheide albeautystandard.Whilethere isnothinginherentlywrongwith standardized-beau ty,itoftencanlead tostag -nation, thedeath ofimagination,
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conceptinfounded;ganization-orwehaveitisakeyelementtheof“organi-zation”forhowcouldanythingbetrulyorganizedifitdidnotfollowanysetofrules?
preordainedsetofguidelines thathaveensuredusapeaceful wayoflife.Therearethosewho favortheartificialsymmetryof order,whofindalifethatis-con gruentwithwhatthemajority believeisthecorrect waytoexist.Order existsinevery sortof
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Weareenticedbytheunknown. Weseekanswersformysteries, makepatternsandsenseofwhat wedon’tunderstanduntilwedo. Ourcravingtounderstandexists inresponsetothefearofwhat wedonotunderstand andoutofthatdesire orderisborn.We forcegentleforms untothe-jagged nessofchaos,a beastwecannot everfullytame, onethatlives adjacenttous, andjustoutsight.of usaswetake eachsteptowardour-des tiny,whateverit maybe.Thereis safetyandbeauty tobefoundin theembraceoforder. Wecan
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PhotographyConceptVideographyEditingModelsMakeupStylingGraphicsCesarTijerino JorgeEchevarria,MarlaMcloed VeronicaGiraldez JorgeEchevarria,Marla SiddiquiNickMcloedRayne,HaneenVeronicaGiraldezSydneyDiana 88
