Issue No. 15
WHAT’S YOUR NEXT MOVE?
Fall / Winter 2019
Thread is an independent student publication funded by SAFC and Engaged Cornell. Thread is the only fashion, lifestyle and art magazine at Cornell. Thread is a conglomeration of student writing, art, photography, styling, and design. Published once per semester, Thread showcases the talents of Cornellians from all disciplines, and works with external organizations on creative collaborations. Thread would also like to say a special thank you to Marie from The Vintage Industry, and our Faculty Advisor, Professor Denise Green. Web https://threadcornell.com/ Email thethreadmagazine@gmail.com Facebook facebook.com/thethreadmagazine Instagram @threadmag
2
WHAT’S YOUR
NEXT MOVE?
letter from the creative director I’ve played the game to get here. Remember when you wanted what you currently have? What did you do to get here? I followed the rules. I played the game. I did exactly what is expected of an 18-year-old in this game we call life to get through high school, get into college, get a job, one move after the other. I wanted more than to just get here, though. I thought winning entailed more. I thought I talked to the right people. I thought I worked just the right amount. I thought I did all the right extracurriculars. I thought I played all the right moves. I still only ended up here. My experience as a lifelong athlete precipitates this constant simulation. I’ve played the game. I’ve never broken the rules. Let’s talk strategy. Should you think three, four, ten steps ahead? Or should you analyze your past moves to improve for the future? We all have our own opponents. Do our opponents play by the rules? Is our goal to defeat them or to escape them or some combination of the two? What move will get us there? For this issue of THREAD, I wanted to explore the idea of how we all play the game, one way or another. All of our actions have culminated in where we are at present, and our actions in the present determine our future. Each move – each conscious decision to act – leads to a new outcome. This outcome prompts response: to be reactive versus reactionary, tactful versus impulsive, offensive versus defensive. Intentional strategies. Unintentional results. I wanted to explore the idea of how every move affects everything that comes thereafter. A continuity of consciousness. The game is not over. We’re still playing to win. What’s your next move?
- Anjali Velu
6
Co-Presidents Christine Yang Savanna Lim
Art Director Gianni Valenti Beauty Director NIkki Simonson Business Director Caitlyn Park Creative Director Anjali Velu Editorial Director Chi Kyu Lee Managing Director Jackie Han Marketing Director Hyeji Suh Photo Director Gillian Harrill Styling Director Juliana DeRoza Web Directors Naotaka Kinoshita Vivien Lee
staff
Art Team Erin Giombetti Dana Gong Erin Ibo Yuyun Kim David Ni Isabel Padilla Nguyet Vo Melody Zhou Beauty Team Kayla Bouazouni Shania Fang Ally Kim Jessica Lecorchick Samira Reddy Avery Somma Elaine Wang Tina Yang Lora You Victoria Zhu Business Team Bella Castaneda Marinna Chung Gabriella Estrada Shania Fang Ally Hong Karelia Jaramillo Maria Jordan Celina Kim Jackson Kwon Grace Lee Nika Mikec Anthony Peng Ashley Qi Brandon Voepel Marguerite Wang Amy Zhang Victoria Zhu
Creative Team Ruth Beinhacker Rebeca Boudet Ona Carranza Ava Ghobadian Miriam Gitelman Dana Gong Jackie Han Bryeson Henry Karelia Jaramillo Alexa Kanarowski Paulina Klubok Akua Kwakwa Grace Lee Aarushi Machavarapu Sarina Matson Phoebe McKinley Mabel Orhiekhoe Isabel Padilla Carolina Parekh Risa Sunakawa Anjali Velu Sara Wanyana-Tyaba Editorial Team Sarah Bastos Angela Chang Benjamin Chen Angeliki Cintron Lily Howes Sarah Knight Andrea OrduĂąa Rob Sanchez Marguerite Wang Annie Wang Stephen Yang Marketing Team Amaya Aranda Sarah Bastos Jacob Beeho Brown Gabi Berchtold Benjamin Chen Chloe Goldman Lilly Howes Genie Kilb Katharine Ko Annice Lee Yaoyao Ma Ha Young Shin Dayna Shin Avery Somma Tina Yang
Photo Team Marina Bernardi Tyler Brown Ona Carranza Dana Gong Amanda He Erin Ibo Alexa Kanarowski Helen Li Savanna Lim Nick Lu Crystal Navellier Ben Parker Katherine Pioro Gloria Shi Dayna Shin Shoshana Swell Tingyue Tan Taliyah Trueheart Styling Team Ruth Beinhacker Melissa Belmont Vrinda Goel Chloe Goldman Ally Hong Karelia Jaramillo Amanda Ji Soo Kim Jeri Kim Ashlyn Koh Jackson Kwon Anastasia Mahdavian Melanie Metz Jacqueline Navas Hannah Norris Mabel Orheikhoe Rachel Reich Melody Zhou Web Team Isa Arocha Tomas Engquist Kelly Foo Selena Kang Celina Kim Sage Lee Sharon Li Kexin Lou Grace Yim Julian Zhang
8
contents 36
12 20 Choose Your Fighter Shoot Director Jackie Han Beauty Samira Reddy Lora You Victoria Zhu Creative Rebeca Boudet Ona Carranza Mabel Orhiekhoe Editorial Sarah Bastos Benjamin Chen Photography Tyler Brown Dana Gong Shoshana Swell Isabel Padilla Styling Ashlyn Koh Anastasia Mahdavian
28
In Position Shoot Director Gillian Harrill Art David Ni Beauty Elaine Wang Creative Bryeson Henry Akua Kwakwa Paulina Klubok Editorial Stephen Yang Photography Alexa Kanarowski Nick Lu Tingyue Tan Styling Chloe Goldman Jackson Kwon
Take a Chance Shoot Director Christine Yang Art Yuyun Kim Beauty Tina Yang Shania Fang Creative Dana Gong Editorial Angeliki Cintron Lily Howes Photography Amanda He Helen Li Styling Melissa Belmont Rachel Reich
Halftime Shoot Director Gianni Valenti Art Dana Gong Nguyet Vo Beauty Samira Reddy Creative Aarushi Machavarapu Isabel Padilla Risa Sunakawa Editorial Rob Sanchez Photography Marina Bernardi Dana Gong Erin Ibo Isabel Padilla Styling Marbel Orheikhoe Jeri Kim
10
46
Cheatcode Shoot Director Nikki Simonson Art Erin Ibo Melody Zhou Beauty Jessica Lecorchick Creative Miriam Gitelman Phoebe McKinley Editorial Andrea OrduĂąa Photography Katherine Pioro Dayna Shin Styling Amanda Ji Soo Kim Jacqueline Navas
56 66 Can’t Repeat The Past Shoot Director Juliana DeRoza Beauty Samira Reddy Avery Somma Creative Grace Lee Sarina Matson Editorial Sarah Knight Marguerite Wang Photography Ben Parker Gloria Shi Styling Vrinda Goel Hannah Norris
Final Boss Shoot Director Anjali Velu Art Erin Giombetti Beauty Ally Kim Kayla Bouazouni Creative Jackie Han Editorial Angela Chang Annie Wang Photography Gillian Harrill Savanna Lim Styling Melanie Metz
74
Collaborations Directors Chi Kyu Lee Savanna Lim Nikki Simonson Creative Ava Ghobadian Alexa Kanarowski Carolina Parekh Editorial Della Keahna Annabel Young Photography Shoshanna Swell Ona Carranza Catalina Ferreira Styling Karelia Jaramillo
choose your
fighter
cyber punk Everyone has an obsession growing up—princesses, dinosaurs, horses, ninjas; something from a movie your parents are watching in the living room late one night or from the book your teacher reads aloud in class one Tuesday afternoon. For sevenyear-old Jesse, it was cowboys; the way they set out on their own into the Wild Wild West with just their horse and trusty revolver, laying down the law, making their own rules, always strong and silent as they did whatever cowboys did as they made their way through the uncharted. Reading about them reminded him of what he wanted to be—or rather, everything he knew he wasn’t—cool and collected, confident and brave, beholden to nothing and nobody. He knew he wasn’t because that was what his parents would tell him when Mama was angry and snapping at everyone and everything including the dog and when Dad came home late at night smelling like whiskey and too many cigarettes. They’d tell him everything that was wrong with him; he was too fat, too slow, too loud, too dumb. And as much as his teachers wanted to set him on the right track, and his report cards read “has potential,” they also, without fail, described him as “often a distraction to others” and “difficult to work with.” Jesse’s only reprieve from it all was when he got to pull Grandpa’s dusty old cowboy hat out of the closet, as beautiful and brown as it was the day Grandpa gave it to him, tuck his trusty squirt gun into his waistband, and play pretend with the neighborhood kids from sunrise to sundown. For a little bit, he didn’t have to be fat, slow, dumb Jesse anymore, Jesse who wouldn’t amount to anything; he could be Jesse the cowboy, bravely paving his own path into the unknown, the Wild West, making a name for himself in every town west of the Mississippi. And for a day, he wasn’t worried about how he was doing in school, or what his parents would say at dinner, or who was making fun of him in class. He could take whatever life threw at him. Not everyone grows up being told that they won’t amount to anything. For 17-year-old Jesse, unfortunately, this was the case. But he worked hard through high school anyway, in spite of his parents’ insistence (and sometimes his own) that it would mean nothing, that he wouldn’t make it anywhere. He read and he studied and he wrote with the same intensity as his (frankly kind of strange) childhood obsession with cowboys and the Wild West, even when he didn’t know why he was working so hard. So when he got into college—Cornell University, of all places, years after he had hung the old cowboy hat up for good and lost his trusty squirt gun that had stopped countless crooks and outlaws, he didn’t know what to do. But for the first time, he was faced with the prospect of success—the genuine, authentic feeling that he had a place to go, an opportunity to capitalize on. Cornell was thousands of miles away, in a place he’d never been to, filled with people he’d never met. He had no parents to guide him; no one from his town had ever gone so far for college, or for anything else, for that matter. Jesse was on his own. But that was okay—he knew how to play cowboy. By Benjamin Chen
14
BUBBLE GUM
i begged my mom and dad to paint my room pink and yes, i was that kid who would wear princess dresses to kindergarten. i take myself very seriously. i don’t just drink rosé, no, but i do wish the saratoga glass bottles were pink, instead of that dark navy or whatever. i’ve heard somewhere pink used to be a masculine color, the color of the knights. but: i’ve redefined its meaning. now, i’m the authority of what it means and what it entails. i authorize bubble gums. i authorize lacy pillowcases. listen to my sword sharpening against my scepter. listen to my jewels, clanging against my sternum. listen, i’m talking. do you see my spray-painted horses? i have a blade hidden in my billowing shirt and i’ve painted that pink, too, to conceal it. i’m here and i’m rosewood with a hint of magenta. By Chi Kyu Lee
16
ACE OF SPADES
People may call you snakes because you are the kids with the 4.3 GPA who will do anything in your power to keep your grades perfect and will drag people down who threaten your standing. You are the ones who seem to always be on LinkedIn during lectures but somehow still manage to get the highest grade on the last prelim/term paper. Your resumés boast infeasible accomplishments — a combination of pre-professional frats, internships, leading non-profit organizations, and proficiency in several languages. You’re emotionally and mentally aggressive, making others feel inadequate about themselves. You’re the ones that ruin our curves — the people everyone loves to hate. You believe that you shouldn’t get too attached to others or you’ll get burnt. You don’t care about anyone’s feelings but your own, everyone’s just another networking opportunity for you. You are the ones who party the hardest, sleep the least amount of time, but somehow still seem immaculate. You’re outer-worldly, nothing seems to bring you down -- you go through the motions. This work-hard, play-hard lifestyle has been fated for you upon your arrival with the majors you chose. The more popular the major, the more high-stakes the competition. If you don’t get that internship or that grade above the mean, who are you really? What is your worth? The whole essence of who you are is based on your perceived notion of success. The anguish you put us through seems torturous, but only makes us work harder. By Sarah Bastos
18
I
ITION
IN POS
Short Story:
Revisiting Fascist Aesthetics:
Black. All black. All of them in black. They all dress in the Yes, fascist aesthetics is related to fascism. color black. Drones are surveilling from above. On their toes, Don’t scream neo-nazi and far-right. It bleeds in They wait and listen before they act in accordance. They line our fashion. Wearing Dr. Martens, Hugo Boss, black up, clinging onto the world built upon ordinance in an orderly leathers, or military uniforms? You earn the fascist fashion. Permeated in gratification and fidelity, they stay in points. But why? And how? Why is it eerily authoritative position as ordered, well-behaved as industrial components. They strive to maintain power and balance immaculately. but rebelliously playful at the same time? Why is it They seem to be so close to getting it. But what is it? Is repressive but liberating? Why is it sinful but gratifying? Why it real? They start trembling. This is not working. They is it violent and sexual? start seeing patterns that were not coherent within the infrastructure. They zoom out. They look around and Elements of fascism are heavily fetishized by contemporary notice their differences. Different sizes, different shapes, different shades. The same color aesthetics. Fascist aesthetics is intrinsically prurient, idealizing, black is of different textures, different crops, and sexual. Fascist elements like the SS uniforms suggest fantasies different hues. The pieces are embodied with of community, order, legitimate authority, and the legitimate exercise of different utterances. Eureka, this is bona violence. The fascist ideal is to transcend sexual energy into a force for the fide. They see who they really are and benefit of the community. As Sontag argued, “the erotic is always present how they are distinct from others. Yet as a temptation, with the most admirable response being a heroic repression they remain in position, gazing at one of the sexual impulse.” 1 As such, the hypermasculine eroticism is present as a another. Don’t move. Surveillance is ubiquitous. Surveillance will temptation that is hypersexualized by the repression of the sexual impulse. As the always be ubiquitous. message of fascism has been mediated by an aesthetic view of life, its trappings have also been sexualized in the form of sadomasochism. Sadomasochism can be perceived as a response to an oppressive freedom of choice in sex, in which sex becomes dehumanized and severed from relationships. It is in this form of sadomasochism that fascist aesthetics embodies such conflicting connotations.
24
In terms of fashion, a deliberate kind of The most prominent yet controversial ambiguity is a prominent feature of the use figure in this era is Coco Chanel. of such fascist iconographies. When all social She is routinely attacked for profiting interactions are condensed in the monolithic from the Nazi invasion of Paris. She allegedly took advantage of fascist structure based on power, the sadomasochist laws to occupy property from her feature of fascist aesthetics challenges the patriarchal Jewish business partners. In addition, hierarchy. Through the game-playing with symbols, she also allegedly had affairs with a Nazi the playfulness of potential interpretations manifests a spy.2 Despite all the accusations, Chanel reordering of power. Fashion is power, so fascist aesthetics was not prosecuted after WWII, as Winston Churchill stepped in on her behalf. As such, has naturally crept into the world of fashion. Chanel’s fashion choices made in that era have remained influential. Fascist aesthetics As we look back at the use of chains, boots, and badges, these continue to stay relevant in the world of fashion fascist symbols turn fashion into something as playful and as self- as it did not befall along with the Nazis. The fascist ideal of a thin, tall, muscular Aryan body contradictory as sadomasochist sex. with blonde hair and blue eyes alludes to a sense Fascist influence in fashion was rooted in fashion’s entanglement of déjà vu. “Any power whatsoever is destined to fail before fashion. If fashion says skirts are with the Nazis during WWII. During the Occupation, the Nazis and their short, you will not succeed in lengthening French allies sought to harness the power of the fashion industry in Paris. them, even with the guillotine,” Mussolini In this atmosphere permeated with humiliation and repressed rage, Parisians remarked in 1930. Fascist influence on found ephemeral escape in the radical exploration of pleasures. It was trendy fashion still exists in many different to explore sexuality’s mesh of possibilities, which inherently originated from the forms. By no means should these gratification of sadomasochism. This cultural background shaped the essence of historical traces of fashion be neglected or erased. fascist-influenced fashion during the era. The question essentially came down to the fashion designers stuck in Vichy France. They faced a new predicament: should they show disdain for the invader? Or should they collaborate and cope with the status quo? By Stephen Yang
1. Sontag, S. (1975) Fascinating Fascism. Retrieved from https://www.nybooks.com/articles/1975/02/06/fascinating-fascism/ 2. https://www.independent.co.uk/life-style/fashion/news/fashion-and-fascism-ndash-a-love-story-2233481.html
Take aChance
Security at The edge of Unkowing Inspired by “The Fool,” card 0 out of the 22 Major Arcana in a Tarot deck. we had a picnic on the edge of a cliff soft blanket to cushion us from the rocks, the dirt we fed each other sweet sugar-coated strawberries, succulent honey, blueberries, grapes, cheeses, dining like the gods themselves we tied knots out of cherry stems, giggling at our shy, innocent acts of disobedience not quite dressed for the chills of the lake down below, but we didn’t care we were beautiful. we danced in circles, laughed like wind chimes, lazily strung daisies, dandelions through each other’s hair, collecting bouquets the flowers were drying, browning, but we could pretend we sang to each other, sweet voices ringing as we laid down, arms across each other, legs, fingers, warm bodies intertwined we made wishes on dandelions, knowing the rules about keeping a secret, but whispering our dreams into each other’s ears anyways. the sun began to set, golden rays turning us into glowing angels, our eyes opening up into shining pools reflecting back what lies ahead we were at the beginning, new, happy little fools, blissfully unaware of the winds picking up over the lake the sun’s glow finally retreated behind the water, angels turned back to mortals we packed up our blanket, what remained of our ambrosia pulled the wilting flowers out of our hair, and took a breath inhaled wonder, anticipation, curiosity exhaled insecurity, worries, fears and closing our eyes, joining hands, we took our first steps into the unknown By Angeliki Cintron
30
She tied her hair into a loose ponytail, the front ends cascading from the scrunchie to brush the sides of her chin. Her cheeks were pale and soft; her eyes were calm yet focused. She blinked slowly as she inhaled. She let out her breath and let the world enter her vision again. The sun shone above her, casting a warm glow, encompassing her in entirety, blanketing her in yellow. The incandescence penetrated the fragility of her linen, her silk, chiffon, and satin. The gold reflected off the shimmer of her cheekbones, creating a visual cacophony of light and shadow, shine and innocence. The sky was as blue and expansive as the oceans, tattooed with lonely clouds willowing from one end of the horizon to the other. Parallel to the sky above, grass crumpled around her feet, except for the few blades exposing themselves between her toes. The wind flowed around her, the chill of the air causing her cheeks to blush. She could feel the Earth under her, the energy of mother nature, the underlying current of the world. She remained poised and dug her heels slightly deeper into the softness of the field, letting the energy pulsing under her feet carry up through her legs, her torso, until her whole body was filled with this all-encompassing warmth. She let the honey-filled sun and the naturefilled ground billow inside her until she was honey and nature herself. Her loose hair strands fluttered around in the cooly tinted wind. There was a volume to the silence around her.
32
She looked at the horizon in front of her, right at the crease where the ground kissed the sky. She felt a bellowing inside her, an ambition churning. She was beginning her play, her own story, her voyage. She had stepped into her role confident in the world around her and its ability to propel her to where she was headed. Fate was her most loyal companion- it danced around her, gliding through her hair, sneaking between her arms and legs, following her with every step she took. Her naivete could be worn like a shawl around her body.
It was almost as though she was dreaming. There was a soft haziness and grain to her vision. She felt as if every step she took further on the dewy grass was weightless. If she were to jump, she would float to the clouds. Her innocence was pervasive, it could be felt by everything around her, the flowers, ladybugs, the wheat field, the buzzing bees. She was so many things at once, aureate, ethereal, radiant and all-encompassing. She was ready. By Lily Howes
34
Halftime Outward Expressions of Inner Conflicts Robert Sanchez Bartels Hall October 25th, 2019 6:30 p.m. EST We all have those moments. Moments when we have to confront the demons that lurk deep within the innermost self. Following the recognition of defeat or loss, we have to ask ourselves, “what’s my next move?” This period of self-reflection and meditation is critical to the development of the Hero’s Journey. In literary theory, the Hero’s Journey outlines the stages of growth and development for the main character of the story. In this sense, we are all heroes of our own stories, completing one scene at a time. The Hero’s Journey begins by describing a time when the hero is comfortably at peace, highlighting the innocence of the self. In this stage, the hero is often oblivious to the trials and tribulations they are soon to face. Next, the hero encounters a call to action that is often disregarded due to fears that need to be overcome. At this point, the hero is thrust into a new and uncomfortable dynamic to which they’ve yet to be exposed. Through the discovery of a mentor or a guiding figure, which is the next phase of the journey, the hero is able to overcome their initial hesitation and begin their journey. It is here that the hero enters a world of unfamiliarity, riddled with fascinating wonders as well as dark mysteries. The hero encounters a plethora of tests, allies, and enemies as the next phase of their journey. This is when their worldview becomes broadened, influenced by new peoples and places. Up until this point, the hero has been able to face their trials head-on, but will soon approach a new, difficult task that will require the hero to take a critical look at themselves. This is when the hero is faced with an inner conflict that threatens to alter their very sense of self and perception of the world. This ordeal incites a critical period of reflection and a loss of innocence, as one prepares to reframe their mindset and tackle what lies ahead. In our shoot, our models are representative of this period of reflection, affectionately referred to as “halftime,” depicting the struggles our hero must overcome. Through profile shots capturing the outward expression of inner conflict, the feelings and emotions associated with “halftime” in the hero’s journey are achieved. Despite the internal struggle taking place, the self finds a way to bounce back. Though these points may be low, we find new ways to embrace the discomfort and develop a plan of action to face the approaching challenges head-on. What goes down, must come up. Our hero learns valuable lessons from their halftime struggle that will prepare them for the fight ahead.
38
T T A C E H CHEA
OOO DDDEEE
C C
CC
HAVE A I N A Fruit, crème, mango, mint...
These enticing flavors that one might find during a stroll down the candy aisle were suddenly available behind the counter at any local convenience store, packaged in an unassuming container with bright colors and the word “JUUL” plastered across the front. What looked like another typical nicotine product would grow to be one of the largest e-cigarette brands in the United States, capturing a market share of 72% as of last year (Wikipedia). In 2015, the e-cigarette company launched with the goal of presenting a healthy and satisfying alternative to cigarettes for adult smokers. However, this device that was meant to curb unhealthy habits in adults has instead promoted the widespread use of nicotine products among teenagers and young adults, leading many of them to adopt the dangerous vice that JUUL was meant to eliminate.
Across the country, vaping has been normalized – and even idealized – among minors, largely due to the accessibility and appeal of JUUL devices and their flavored pods.
? P RI
Many people began to realize that as the popularity of JUUL rose, so did the number of vape-related illnesses and deaths. According to the Washington Post, federal officials have noted almost 1,500 vape-related illnesses, while the Centers for Disease Control and Prevention (CDC) has confirmed 34 vaperelated deaths to date. Multiple states, including Massachusetts, New York, and Rhode Island, have banned sales of flavored e-cigarettes, believing that these companies were illegally targeting minors with unique flavors and flashy marketing. As controversy surrounding JUUL increased, lawsuits against the company began piling up. Currently, JUUL faces over 55 federal lawsuits in 25 states, with multiple people accusing JUUL of false advertising, failure to warn users of its addictive properties, illegal targeting of minors, and other claims. Many people believe that JUUL’s aggressive marketing tactics and targeting of minors are largely responsible for the increased use of e-cigarettes among teenagers – not only did JUUL try to emphasize the “health benefits” and “safety” of vaping products compared to other alternatives, but they also produced fruity, unique flavors that would appeal to younger audiences.
48
52 By 2018, many saw the company as responsible for reversing a decades-long decline in youth smoking rates. In fact, the 2019 National Youth Tobacco Survey reported that over 5 million youth use e-cigarettes, which translates to around 27% of high school students across the US. In response to the public backlash it is facing, JUUL recently stopped sales of their more popular flavors, restricting the choices to mint, menthol, and tobacco flavors. Moving forward, the Trump administration announced it would remove all flavored pods, leaving only tobacco flavors on the market. It is undeniable that JUUL devices, along with other nicotine products, are unhealthy, dangerous, and habit-forming. What may start as “a few hits from that rando at a party” could lead you down a path of addiction and subconscious reliance that you might have never been on otherwise. You won’t buy one, you say. You’ll only use it socially, you say. Flash forward a few months and you’re hitting the JUUL while you study, while you watch Netflix, while you walk home alone from class. High schoolers who were once disgusted by the thought of cigarettes are suddenly sneaking into bathroom stalls for “JUUL breaks” between classes, unaware of the dangerous health risks they are inflicting on themselves.
Regardless of the reason, these teenagers chose to try it (curiosity, indifference, acceptance of the, those who get addicted face serious illnesses if they continue, and unpleasant withdrawal symptoms if they try to stop. Just this month, a 17-year-old boy from the Bronx died from a vaping-related lung illness, marking the first death associated with vaping in New York. Regardless of whether you JUUL or not, it is important to keep yourself well-informed and updated on the facts. Vaping is easy to normalize when JUULs are everywhere – we see them charging in the library, flaunted on social media, and passed around at parties like a bag of candy. It is unsettling to think about the ease of which many of us have adopted them into our everyday lives, regardless of whether we actually use them or not. We can only hope that moving forward, teenagers will grow up to live healthy, fulfilling lives, instead of becoming another nameless statistic in yet another news article on vaping, met with immediate concern only to be forgotten after a few more scrolls down the page. By Andrea Orduna
CANT REPEAT THE
PAST
58
The art of eye contact
act I. revel in the fooleries, they say. would you like a glass of rosé--or perhaps a flute of champagne? i wouldn’t trust the bartender; he’ll meet your gaze, smile, and cut you off three drinks early. try catching the eye of our wonderful waiter, who’s waltzing from table to table with a cornucopia of cocktails. pick your poison. you can never lose enough before your big win, they say. isn’t that an idiosyncratic idea? a veneered vision, crafted by a silver tongue. but don’t worry. the gods granted king midas the golden touch, and soon enough, you’ll understand his wish. the spinning roulette is your wheel of fortune. the poker chip rolling on the dealer’s knuckle beckons. come, it says. the world is yours for the making. act II. say your prayers at the slot machine--your new place of worship, your new nightly altar--and confess your sins before liquor-loosened lips spill them for you. a debutante leans against the counter, low-lidded eyes skimming the fan of cards pinned between her thumb and index fingers without a care in the world. silver and sapphires pool into her collarbones, cascading over her lapels. with a slash of scarlet, a curve of crimson, she folds her cards. another takes two long drinks; wine-wet mouth and sweat-soaked forehead. smoothing his creases into stone, holding a compact mirror as he constructs his coiffed hair, he makes sure once he’s done, the only thing that glitters is gold. as he lays down a royal flush, the pearls of his teeth wink. one sets her cigarette aside, bursting into crowing laughter as she circles the pool table. with another gasping giggle. fumbling with the cue, she smiles at her opponent. kohlrimmed eyes crinkled into moon crescents, golden from the lights, she pockets the last of the solids and calls it a win. but don’t say they smile like a fox; for the fox smiles like them. act III. it’s their green light at the end of the dock-people dance until the soles of their feet blister, until broken skin oozes. crimson scatters across the floor like fallen poker chips. beneath the diamonds cut into chiffon skirts, beneath the tailored pinstripe suits, machiavellian madness thrums in tandem with every firing synapse. mechanisms and manipulations are interwoven into their being, no different from any human’s collection of nerves. they are icarus in his tragedy. they are icarus before the ocean’s touch. broken strings of pearls are scattered across the marble floor, empty bottles hidden behind the bartender’s counter. fingers fold, pool balls roll: the promise is still there. just one more deal, one more shot, they say with every breath. as smoke fills their lungs, as the champagne towers fall, they say again and again that the third time’s the charm. they sink their heads underwater and expect to sing-they don’t --after all, bad things come in threes. and there is no god, only powder to cover the bruises under their eyes, rogue to draw attention away from their desperation-and they’ll never let go. By Marguerite Wang
60
62
never fear,,
greek rank is here As they say, life is a game. Especially here at Cornell. We’re in constant competition for club spots, grades, and internships. Though those things may seem important, their significance pales in comparison to the game that is Greek Life. After all, the only thing that matters about you is your letters. There’s an art to climbing the social ladder, one that isn’t easy to master. Luckily, there’s a website that makes competing in the Colosseum-like arena of frats and srats easier for all of us: Greek Rank. It’s the proverbial scoreboard of Greek Life, indisputable and totally necessary. Without it, how would we know what the “Core 4 as alcohols” are or learn important facts like “Sig Phi hates the Earth?” Luckily, dozens of rankings are posted every day where experts inform the public as to which chapters are hot and which are not. These rankings are peer-reviewed by an army of commenters. The intellectual discussions that arise about how “AZD needs to chillllllll” or whether or not “DU and sig pi should be together in its separate tier above AD and phi psi” are not only educational but downright riveting.
If you want to be a part of this regressive community but feel like you don’t have the authority to start your own thread, the opportunities are plenty. You can feel just as powerful as the high-and-mighty anonymous posters by weighing in on polls like “Who’s More Whack- Chi Psi or FIJI?” If you feel ashamed for participating even that explicitly, you can still contribute to the harmful culture of the website by giving a thumbs up or thumbs down to posts that strike a chord with you. Maybe titles like “DG is done” make you so distraught that you can’t help but press the dislike button. Or, perhaps you love the post called “Who’s Mixing With Who for Homecoming?” so much that you must bestow a thumbs up. It’s almost unbelievable that there is a website that puts the most antiquated and disturbing aspects of the game of Greek Life on display. And, it’s even more unbelievable to see the staggering amount of time Cornell students spend interacting with such a website. New threads and comments appear almost hourly. As a result, the stakes of the game seem much higher than they are in reality. In short, GreekRank is turning what should feel like CandyLand into Call of Duty. By Sarah Knight
BOSS
68 Passion [Inspired by Little Fires Everywhere by Celeste Ng] I met a girl – I don’t recall where or when but she would start these little fires. It began with The Ghost of an Idea haunted her house, pleasantly, politely asked to stay a-while. Through seasons of riots and bombs and fires, distant noise of – everything she knew to be right or wrong – until years later, something reached inside, and Idea caught fire turned wild and free. There’s danger to a flame that scales walls and leaps over trenches looks them in the eyes fearless in face of complacency, of “This-is-not-how-we-do-things” I’ve never met a flame that grew in captivity. Since I’ve known her, she would start little fires Everywhere and in me. ….
Resilience and Sacrifice [To my mom. If anyone has won the game, it is you.] One night, we stood underneath a moonlit canvas looked up at her past to see a girl, drifting like a cloud across soft-blue seas
there now here nothing she carried but her dreams.
See, it’s hard to be unseen – Through the years, tore through threads of fear with steel edge of heart sharpened from want of more-than-this. Watched her pick out splinters, one-by-one those small, glittering shards of past and present: It’s a lonely climb when people belittle, beat and break you until even Dream fades to dust. But on her back clung two small children So how could she risk the fall? For them, rooted herself deeply, her love long and many branched and deep cast shade under her branches – though sometimes bare – See, Home had never been a place it was the little girl and boy she carried with her walked on nails so they could climb further than her somebody, And ive what she had never known.
Love Reflection touched her deepest during times of doubt, when self would turn its back against her mind. But looking past her fright, the crimes accused against herself, she finally sensed: Her thorns became her diamonds, droplets placed upon her head, a crown built of past Love, hate, and fear. She conquered all she faced and one by one unlatched her heart to fears surpassed. Her love for her, and him, and them she used as weapons, armed her life with choices made in face of hate, and minds and hearts abused of knowing they were leaves of one, unafraid. The strength to turn the worth of nothing, like A spool of thread unraveling, to reveal By Annie Wang
The Western fashion sphere saw its first wave of androgyny when Coco Chanel introduced trousers and padded shoulders to the flapper girls of the roaring ’20s. The women who had tasted freedom on the home front while their menfolk fought in war translated this newfound liberation into their dress. Channeling the sharp, powerful silhouettes of their male counterparts, the women throughout the 20th century who exchanged skirts and coiffeurs for pants and ties exuded a butch, Marlene Dietrichesque sexuality that became a symbol for their desire to shatter the domestic mold into which they had been cast. Menswear, which had remained comparatively subdued throughout the wars, sprung into revolution alongside the urban youth culture of the post-war era. The 1960s and onwards saw a new breed of youth who clamored for the downfall of the institution. Loud and wildly experimental, they wanted nothing to do with subtlety and everything to do with thumbing their noses at the establishment. Helmed by pop icons like the Beatles and David Bowie, men flirted with flamboyance through feminine touches, donning pussybow blouses and flared trousers. However, the androgyny of the 20th century was almost always restricted to the counterculture members of their time. They were the feminists, the anti-institution activists, the Bohemians and those who sought to explore their sexuality amidst the riot of change. Rock icon David Bowie became immortalized in part through this
this exploration, his alternate personas immortalized by exaggerated silhouettes like his illusory vinyl “Tokyo Pop” bodysuit and the svelte cherry platform boots that became intrinsic to his Ziggy Stardust persona. The confidence that Bowie exuded in his sexuality and his blurring of gender lines transformed him into an icon for the LGBT community. In many ways, androgynous dress in the 20th century became a distinguishing feature that set apart a marginalized subset from the rest of the population. Clearly, the genderless fashion of the 2010s has evolved since its 20th-century form. Whereas dressing in the style of the opposite sex was seen as an indicator of sexual preferences, gender has begun to be perceived as separate from sexuality. In many ways, this reflects a more contemporary view of gender fluidity and all the nuances that come with it. We’re at the nexus of a gray area in social theory, wherein millennials and members of Gen Z are beginning to question the ways in which established institutions have guided our perception of gender. We question the validity of classifying certain colors or garments as exclusively male or female and wonder why it is that even in the age of liberation, a woman in slacks at a gala or a man in a skirt gives us a jolt of surprise. Art is said to mirror the socio-cultural ideas of its provenance. Clothes function in the same way, translating our constantly evolving notions of gender and identity into material form. In this way, the work of
72
designers such as Rad Hourani and the Toogood sisters are answers to the questions surrounding the meaning of androgyny. By fashioning garments that Rad Hourani calls “neutral canvases,” he gives the option to the individual to make a piece feminine or masculine. Seeking to promote “a lifestyle without limitations,’’ he offers clients the ability to style his designs in ways that will showcase their identity without the baggage of gender codes. Interpreting androgyny as being neither masculine nor feminine but rather a state of neutrality is an approach that English sisters Faye and Erica Toogood have also taken with their London based clothing brand, Toogood. Inspired by the tradesmen of their native English countryside, the sisters design garments reminiscent of workwear, constructing utilitarian designs that are not kitsch but contemporary and reflective of the resurgence of interest in craftsmanship. Workwear, rooted in practicality, is agender by nature, and the Toogood sisters have taken advantage of this fact to work with sculptural silhouettes that adapt to the wearer, male or female. Utilitarianism shares much of its spirit of adaptability with minimalism, a feature that has come to resonate in homes – decluttered in Marie Kondo style - and on the runway. Much of minimalist fashion focuses its attention on highlighting the qualities of a particular material or color, and to that end designers such as Issey Miyake transform monochromes
or simple patterns with silhouettes and tailoring. Miyake’s unique cuts translate into individualistic garments that do not subscribe to a particular gender or even any defined age. Though often criticized for its commercial intent, the fashion industry is a key player in reinventing society’s view of gender, sexuality and how its members choose to define themselves. In a society when, for better or for worse, people are judged by appearance, clothing is a powerful outlet through which cultural norms can be questioned, debated and shaped in ways that liberate us from preconceived gender or sexuality-based judgment. The contemporary voice-in-thewilderness has increasingly demanded in recent years to be seen as an individual - not as female, male, young or old. With designers crafting clothing and sending models down runaways that refuse to conform to a binary sartorial system, the world of fashion has only shown that – as always – it is one step ahead of the game. By Angela Chang
S B A L L O C Ever since its inception, Thread has been a creative force on campus, breaking molds and setting standards in the campus publication sphere. As a team, we had a vision for Thread to be so much more than just a campus publication for this semester. We realized the agency we had as a coherent, creative collective and wanted to use our talents to elevate the voices of others on campus. At the beginning of the semester, we worked with The Cornell Lending Library and The Wardrobe to host an event called “How to Finesse Cornell” where Thread provided headshots for attendees. We then moved on to our first photoshoot collaboration with NAISAC (Native American and Indigenous Students at Cornell) to highlight the plight of missing and murdered Indigenous women. We also collaborated with ROTC to highlight ROTC members’ lives as students on this campus through the creation of a film. Finally, though not pictured, we worked with CUSD (Cornell University Sustainable Design) and Cheekbone Beauty (an Indigenous-owned, cruelty-free beauty brand) on a beauty-focused photoshoot to spotlight sustainable beauty products. We’re proud to share some of our external collaborations over the next few pages, and feel energized and excited to move forward as an organization at the forefront of quality artistic production and social impact.
X
STYLING Annabel Young (Anishinaabe): Jacket: Billy Jackets x RI Indigenous, shirt: Native Works by Chief Seattle Club, leggings: Darrell Thorne Designs. Della Keahna (Anishinaabe, Meskwaki): Top and necklace: Indigenknewity by Leah Shenandoah. Eleanor Glenn (Crow): Shirt: Native Works by Chief Seattle Club, neckpiece: Indigenknewity by Leah Shenandoah. Jewels Billiman (Dinè) Madison Stevens (Mohawk, Seneca): Sweatshirt: Indigenknewity by Leah Shenandoah. Miki Bliahu (Dinè): Ring: Indigenknewity by Leah Shenandoah
MAKEUP
Cheekbone Beauty
S X NAISAC Indigenous women and girls in both the United States and Canada face disproportionate rates of domestic violence, sexual assault, and homicide than any other demographic. Missing and Murdered Indigenous Women and Girls, commonly abbreviated MMIWG (#MMIWG), describes this colonial continuation of genocide that affects Indigenous communities today. In 2018, the Urban Indian Health Institute released a report on missing and murdered Indigenous women and girls taken from data across 71 cities in the United States. Of the 506 identified MMIWG cases identified, 128 cases were of missing Indigenous women. 280 cases were of murdered Indigenous women. The Urban Indian Health Institute, a Seattlebased Indigenous health research institute, also notes the 153 invisible cases—these are MMIWG cases identified by UIHI, but are cases that do not exist in law enforcement records. These statistics do not fully describe the extent of the violence done to Indigenous female-presenting bodies, as many law enforcement agencies lack sufficient data. Law enforcement also often misreports the race of victims, improperly fulfills records requests, or “lose” information. All of these actions are a testament to the failure of institutional memory to accurately represent Indigenous genocide. What is more, this underscores the importance of fighting for better and more accurate data on the issue of missing and murdered Indigenous women. Throughout Canada and the United States, Indigenous communities resist and protest colonial genocide against Indigenous women. Much of this action and protest takes the form of art, like the installation-based work of Metis artist Jamie Black.
Black’s work, entitled The REDress Project, focuses on the issue of MMIWG by strategically hanging red dresses around public spaces. The effect of the installation is a kind of visual representation of those Indigenous women who are no longer here. While Black’s work has been mostly based in Canada in the past, she has done three installations of the REDress Project in the United States—the most recent being here at Cornell from October 21st-23rd. The REDress installation at Cornell opened with words from Sachem Sam George of the Cayuga Nation and singing from Ionawiienhawi Wakeniontan, a 17-year-old artist from the Mohawk Nation of Akwesasne, followed by a talk by Jaime Black. The dresses were placed on the Arts Quad and the Ag Quad in conjunction with signage explaining the art and the movement. The installation closed on the 23rd with singing and dancing from White Earth Anishinaabe and Meskwaki sisters Cleo and Della Keahna Warrior. During the presentation, Black discussed different artists’ ways of drawing attention to the issues our communities face. Black also came to speak to the red handprint stamped across the mouths of the NAISAC womxn in these photographs are part of a larger movement of protest against this violence. Protesters in the past have worn the red handprint to symbolize the larger societal silence in the face of violence against Indigenous women. As we wear the red handprint in this photoshoot, we stand in solidarity with the Indigenous women, families, and communities that are impacted by this violence.
By Annabel Young & Della Keahna
78
Contact Information Telephone Number: 607-280-2727 Email: marie@thevintageindustry.com
Store Hours Monday-Saturday: 11:00am-7:00pm Sunday: 11:00am-5:00pm
Address State Theatre Building 113 West State St. (Martin Luther King Jr. St.) Ithaca, NY 14850
WAR M Shop Cornell-branded fall & winter attire for women, men & kids.
COR N E L LSTO R E . CO M