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WXTJ Playlist Creative Writing Student Art Erin Kang / They Simply Are – Understanding the History of On-Screen Asian Representation Kayde Schwabacher / Fashion: It Shouldn’t Cost the Earth Fashion For A Cause Lookbook Bel Banta / Why We Need to Include More Women in the Self-Care Conversation Katie Krantz / Conservative Fashion Charlie Flynn / The Mockumentary Double Exposure
Editor-in-Chief: Creative Director: Fashion Director: Features Editors: Lead Photographer: Designers: Social Media Director: Social Media Managers: Financial Officers:
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Michelle Miles Kate Snyder Shubs Patel Kia Wassenaar, Andre Hirschler Will Jones Ellen Wray, Annabel Gleason, Isabella Whitfield Bel Banta Jordan Schneier, Kanan Patel, Morgan Romero Lydia Kim, Lindsay Park
Editor's note I feel incredibly fortunate to have discovered V Mag so early in my time at the university, and to have witnessed so much of its growth over the past three years. This will mark my seventh semester working on the magazine, and still, I continually find myself in awe of the talent and creativity of my peers and fellow students. V Magazine has always been committed to seeking out that talent, finding those powerful voices, and offering our platform to amplify them, and on the pages to follow, I believe that you’ll find some of our boldest voices yet. I am thrilled that our collaborative network has expanded even further this semester to introduce us to new voices, and allow us to share them even louder. Following suit from last year, we continued our partnership with Fashion for a Cause by collaborating on a look-book to feature in our magazine (see page 21) and to distribute in “zine�-form at their fashion show. As expected, FFC provided a stunning fleet of models and a group of creative directors with a fierce vision that were a pleasure to work with. We were also delighted to expand our representation of the arts to include music by forging a new partnership with the studio radio station WXTJ, who provided us with curated music for our photoshoots and our magazine (see the next page!). I am also grateful to say that we have continued growing our creative community by joining forces with NOW Mag, a fellow student-run fashion magazine, to co-produce another film in our burgeoning series of artist interviews (available for viewing online). I hope the excitement that I felt in working with so many incredible, like-minded individuals to produce this issue is felt by you as a reader as you thumb through the pages (and as you attend our first-ever launch party!). And to the bold team who brought their ideas and talents to the table, I thank you for your commitment to this creative endeavor of ours, and for helping to make this issue happen. Happy reading! Michelle Miles Editor-in-Chief
the
playlist
heat wavE..........snail mail immaterial..........sophie distortion........mount eerie don’t forget about me............no name dial 247...........skee mask thug tears..........jpegmafia prom/king..........saba wear me down........ross from friends decision tower............mike This playlist was compiled by Tom Sobolik, in partnership with the student radio station WXTJ. Tom went back through the songs he really cared about this year and wrote his thoughts on each — on the facing page is one, read the rest at the WXTJ blog: www.wxtj.fm
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It feels strange to include a song on my ‘year-end faves’ list that I only played three times. “Distortion,” the centerpiece of Now Only, Phil Elverum’s ninth album as Mount Eerie, is simply too haunting a song to accompany a morning walk to class, or Sunday afternoon chores, or a calm evening with friends. To listen to Elverum sing as Mount Eerie is to bear witness to feelings most people, myself especially, could hardly share with the closest person in their lives. Such experiences, I’m sure, don’t bear repeating — “Distortion” is not a summer jam, nor is it even a cathartic ballad with lessons to remember through hard times. It’s simply a crutch Elverum has used to shrug off some of the emotional burden of losing his wife to pancreatic cancer in the summer of 2016. Across Now Only, and its 2017 companion A Crow Looked At Me, Elverum opened his heart to the world in the face of this staggering loss, seeking a communion with his fans that would preserve his late wife’s memory. He describes the purpose of Now Only as follows: “A sequel or continuation down the path that began with A Crow Looked At Me. 6 wordfilled songs about the raw strangeness of the present moment, waking up in wreckage, living with pervasive echoing real ghosts and a growing young child. Autobiographical.” On “Distortion,” Elverum unfolds a series of memories he never had the chance to share with his late wife, packing them into a narrative poem which barrels toward the present moment, in which he draws together those stray moments into an understanding about time and mortality that enables him to carry himself forward. The song begins with a wave of electric guitar feedback, a ripple of sonic wilderness which seems intended to evoke the ocean waves Elverum looked out at while writing the song’s lyrics. Elverum recalls his first experiences with death, discovering as a child what death is and then seeing it himself for the first time while paying respects to his late grandfather. He describes how later, he carried that confusion about the meaning of death and about how to manage the human urge to outlast one’s physical habitation of the earth, first through a pregnancy scare at twenty-three, and then through a spare moment watching a Jack Kerouac documentary on an airplane while on tour. Elverum excavated these pieces of himself to discover a means of making sense of his wife’s passing — the “second dead body” he’s experienced firsthand. These words end the song: “I keep you breathing through my lungs in a constant uncomfortable stream of memories trailing out until I am dead too, and then eventually the people who remember me will also die, containing what it was like to stand in the same air with me and breathe and wonder why / And then distortion, and then the silence of space / The Night Palace, the ocean blurring / But in my tears right now, light gleams.” Elverum is so gifted a poet, and the feelings he works through, understands, and bares on “Distortion” are so essential and so complex, that it’s about all I can do to reprint them here to relate his words and their bracing vision.
Listen while you read:
CREATIVE
WRITING
I know. I know from the sly crease in your lips, The crinkle in your cheek. I know. I know from the amused twinkle in your eye. The sparkle in your teeth. We could stand here solemnly with stances like statues, sentries of silence separating simplicity from semblance Stand here like statues, sifting, sanding through seconds searching for when we cease to be stone. How long do we masquerade we are made of marble, not made of mush?
Frozen, But Jimmy Chiou
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DUCK, DUCK, OH NO Kendall Krantz
J
ust as Atlanta is diverse in industry and population, it boasts an astonishing range of automobiles. Our cars are a wealth of creativity. The cars tend to match their drivers if you look closely enough. The black convertible Jaguar is inevitably driven by a svelte, salt-and-pepper banker. A red Audi is invariably owned by an obnoxiously rich Tunisian international student from Georgia Tech. However, the Duck Car’s owner remained unseen, hidden by tinted windows. I first noticed the duck car while doing homework at a cafe. It was too yellow to miss. A modified Ford Focus, it had been painted bright yellow. Even worse, there was a massive rubber ducky head welded to the top, at least a foot in diameter. I’ve seen the Duck Car six times since. I keep a tally of sightings in my planner. I’ve become embarrassingly fascinated. I’ve searched it online (to no avail), looked up the cost of the modifications ($10,000+), and even considered following it (but didn’t). My study spot was made much better than I ever could have imagined by the Duck Car.
him. It’s like looking at a living symphony. With perfectly symmetrical features and a gleaming smile, he was closer to an art piece than a man. I’d heard rumors that he was descended from Roman emperors. When he asked me out on a study date, I nearly fainted. I had timed the date to my past Duck Car sightings. We sat in the outward facing chairs, talking about home and cheering on the cute dogs that walked by. Even though the Duck Car never came around, we had clearly made a connection and eschewed studying. When Matt offered to drive me back to campus, I was ready to eagerly dive into his car and burrow there for the rest of my living days. I fully expected him to whip out a BMW or a Range Rover when he told me to wait on the corner for him to pull around. With just my luck, the Duck Car came around a few minutes after he’d left. He’d missed it. It lumbered down the road, hideous head and loud color breaking the serenity of a city twilight. As it pulled closer, it slowed. I leaned in, realizing this may finally be my chance to see the driver of the Duck Car. It stopped in front of me. The he was closer to tinted window rolled down smoothly, like a an art piece than a man movie mafia boss stopping to give directions. My soul left my body when I looked inside. Matt’s perfect teeth glinted from the interior. When Matthew Cristol offered to “Isn’t it great?” He asked as I tried meet me for coffee, I knew he had to see that not to bite my tongue all the way off. “I even crazy car. Honestly, it was my best shot at got the horn to quack!” impressing him. On a bad day, Matt looks like a Grecian god. On a good day, I have to take a moment to catch my breath if I see
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IN THE SEASON OF BECOMING Sidestepping squirrels on the sidewalks into diaphanous sheet of spring morning, dew like the heart of a geode scattering each lawn, day still breathing cool on the back of every bare neck. Daffodils whisper I am the sun and so are you and I realize I am beaming with a new light, a blinding star blooming hot white from my core, like what will be the ecstatic death of the sun, burning and burning anew right up through the center of me, right out from my mouth.
Caroline Kinsella
Afro-dite by Tiara Sparrow
Student ART
Rest
As a Drama major, Tiara has studied how to become someone else while using her external self as the vessel of life for this new person. Her interest in performance and identity brought her to the concept of this photo series. The series is a visual commentary on “performativity,” whether it be gender performativity, sexual orientation, relationships, or simply feeling different while trapped in one’s own suppressive environment. Through the photos, Tiara explores the complexities of visual representation and performance for the camera. This photoset exists in a space between creating new black mythos and accepting the traditional roles we have been assigned within our environment.
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Tiara Sparrow 4th Year | Drama and Studio Art
clockwise from top: Brother Nature, D & S, and I Exist
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Susan Aparicio Aunspaugh Fifth Year Fellow | Studio Art
clockwise from left: Whole Foods Candies, Juicing, and Sweet Tamale
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Stills from Untouchable
With a Mexican American background, raised in a large Hispanic community in Los Angeles, Susan Aparicio is an artist whose work confronts the challenge of coming from a strong Hispanic culture and feeling estranged from what people think of as “traditional Americans.� Her work brings awareness to the culture of American capitalism and how this impacts minority communities. The differences between cultures can lead to incessant tensions and frustrations and her work explores and critiques this political division and multi-national identity.
Isabella whitfield
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Isabella Whitfield explores the possibilities of line, color, and dimensionality in her paintings. She has decided to move away from the traditional rectangular canvas and instead create works that are defined by their shape. Currently, she is interested in integrating different physical and digital materials into her creative process. In Isabella’s forthcoming work, she is questioning how a simple line can be the foundation for creating interconnected, infinite pathways. 3rd year | Studio Art Major
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They Simply Are Understanding the History of On-Screen Asian Representation Erin kang In the month of August, the film releases of Crazy Rich Asians and To All The Boys I’ve Loved Before reached not only the big (and home) screens of audiences galore but the hearts of a community that has been robbed of a voice for countless years. Crazy Rich Asians earned the title of one of the most successful Hollywood studio romantic comedies with an estimated total of $117 million, while To All The Boys I’ve Loved Before brought together a huge fan base and became an immediate Netflix hit. Aside from being highly successful, the films share notable similarities; they are both romantic comedies, novel adaptations, and most importantly, feature AsianAmerican females as their main protagonists. The last similarity is what has reached and empowered the larger AsianAmerican community. For the
first time in a long time, the community members have been given the agency to empower those who look like them, speak like them, and understand them. This voice in representation was not easily given, however. It has been earned after years of discrimination in the film industry. When considering the successes of both films, it’s important to recognize the struggles that Kevin Kwan and Jenny Han, the authors of Crazy Rich Asians and To All The Boys I’ve Loved Before respectively, faced to find movie producers who were willing to keep their main protagonists Asian. Han states that “[the producers] didn’t understand why she had to be Asian when there was nothing explicitly in the story that required her to be. For me, it’s not a matter of why, she simply is.
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And in a more equitable world, I wouldn’t have to justify that.”
representations of Asians as well, taking away who they are and the stories they have to share. Such representations create inaccurate experiences of Asian Americans, presenting the characters themselves as simplistic. For years, the industry has argued that taking away their identity won’t necessarily hurt the essence of their story. Hollywood has argued that they don’t see whitewashing as a problem; it is used as a way to secure financial success.
She simply is. The industry has struggled to grasp this concept of simply being, resulting in a postponement of empowerment year after year until time became decades of missed opportunities. Hollywood has been reluctant to hire Asian Americans because of their shared belief that they cannot generate enough economic success. Because of their lack of a box office track record, Asian Americans have faced a reality of systemic discrimination and underrepresentation in the film industry, otherwise known as the “bamboo ceiling.” Ultimately, Asian Americans have experienced erasure as a result of Hollywood’s practices.
Rachel Chu and Lara Jean, the main protagonists of the two films, are Asian-Americans. Being Asian for these two characters meant falling in love, believing in family, and speaking their minds, values and experiences that are reflected in story after story of humanity. The racial identity of these characters may not hurt the essence of the story but who they are and where they come from undoubtedly bring powerful, rich elements to the Hollywood table. Rachel Chu and Lara Jean are Asian-American protagonists who have opened doors for people of color and for the future of genuine, accurate storytelling. Comprised of the many predecessors before them who have shaped the way to a more optimistic future, Rachel Chu and Lara Jean tell the story of hope and perseverance for the AsianAmerican community.
The American film industry cannot neglect its early yellow-face practices or its role in promoting whitewashing over the years, which is seen in notable characters such as Mickey Rooney in Breakfast at Tiffany’s or Scarlett Johansson in Ghost in the Shell. Mickey Rooney and Scarlett Johansson are two successful, well-known actors in the film industry, which further affirmed Hollywood’s action in implementing yellow-face and whitewashing practices. The lack of diversity and representation in the industry has led to stereotypical
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FASHION:
IT SHOULDN'T COST THE EARTH
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KAYDE SCHWABACHER That $10 dress may seem like a great deal, but how much is it costing the planet? With nearly three-fifths of all clothing produced ending up in landfills within a year of being sold, it’s important to consider the entire lifecycle of our apparel, from production to disposal (Sourcing Journal). A short lifespan is just one of the many dangerous effects of fast fashion, which imitates runway trends through mass-production at low costs. Although consumers are quick to say they care about sustainability when making purchases, fast fashion retailers continue to flourish. Stores like H&M, Zara, and Forever21 are popular for young consumers because of their ability to replicate catwalktrends fast and cheap. Despite the cheap price tags attached, the real cost is high. The apparel industry is the second-largest polluter in the world, only after the oil industry (Washington Post). Just one pair of jeans requires 1,500 liters of water to produce enough cotton, a material that is considered sustainable when compared to common synthetic materials (The Guardian). After production, plastic fibers from synthetic materials like polyester and chemicals from toxic dyes continue to be released into our water each time they’re washed. At the end of its lifespan, cotton can start decomposing within months, while manmade fibers can take more than two hundred years to break down. Unlike other industries, many fashion consumers have little awareness of the impact of their purchases. The constant demand for new trends has created an industry that prioritizes speed by cutting corners. Along with having an alarming effect on the environment, globalization means that our clothes often travel halfway around the world, usually from developing nations using child labor and providing low wages. Although millennial shoppers say that human rights and labor laws are important factors when making purchases, many shoppers aren’t aware of inhumane production conditions. Even when customers seek out sustainably produced apparel, the desire for new items leads to waste as items are disposed of after just a few wears. The fashion industry is taking on various new methods to create a circular model, like H&M encouraging in-store donations in exchange for discounts, but it is up to the consumer to decide which production systems they support. While some solutions are to buy fewer clothes and wash less, more practical options are to look for materials made with natural fibers, recycle, and shop secondhand. Next time you’re reaching for those new $10 jeans, consider spending the extra cash for better quality that will last longer while supporting sustainable and ethical production.
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V MAGAZINE x FASHION FOR A CAUSE Models: Danielle Muriel, Domenick Bailey, Kiara Kurton, Adrienne Preston, Rai Brathwaite and Louise Tucker Photographers: Will Jones and Michelle Miles Creative director: Jaterra Brown Co-creative assistants: Shaneika Mason, Tanaja Stephenson and Ibrahim Muhammad Co-Fashion Directors: Kourtney Bugg and Rahiel Gevbre
While a huge component of FFC is about fashion, philanthropy is the most integral aspect. FFC creates a unique opportunity because it gets to celebrate the creativity of university students, while giving back to the community. This year, we will be providing a scholarship to high school students in the surrounding Albemarle County area.
PUT SELF CARE IN PERSPECTIVE
Why We Need to Include More Women in the Self-Care Conversation Bel Banta You can swipe your credit card to buy a sweater or an iPhone. Now it appears you can even do so to buy the new hot commodity: self-care. Self-care comes in many forms, from the face masks that are now popping up everywhere from Urban Outfitters to the CVS check-out line, to book clubs that are geared towards working women. Many women are now asking themselves “What can I do to take the time out of my day for me?” and are willing to spend a significant amount of money in order to find out. Business models are now advertising self-care to women by selling the perfect soul instead of the perfect body (though the former may eventually lead to the latter if you eat enough avocado salads for your personal well being). Gwyneth Paltrow’s company, Goop, is a prime example of this. The website advertises itself as a “modern lifestyle brand” and sells wellness remedies, home supplements, and even “cosmic care”. The more ridiculous products Goop offers include the $55 yoni eggs to an $80 rose-quartz water bottle that “infuses water with the power of crystals”. At the “In Goop Health” summit, women paid between $650 and $4,500 to listen to keynote speakers and participate in a variety of activities, ranging from psychic readings to discussions on the health benefits of cannabis. Then there are the countless Instagram pages dedicated to self-care, with posts ranging from “Your body hears everything your mind says” to “You cannot weigh beauty”. These are ultimately important messages for women to hear, and the trend towards inclusivity and body positivity is one that will give more people of different sexual orientation, gender orientation, body type, and disability status a voice. However, many women still aren’t represented in these Instagram quotes preaching body acceptance. Many women around the globe don’t have the time to soak in their bathtub wearing a face mask and reading a romance novel. Many women don’t have the money to spend on a $85 Goop wellness oil. So is the privilege of self-care largely a “first world” luxury? Or even a white, cis-gender, upper-middle class luxury? Probably. However, this does not mean we should discredit the need for self-care that many women may feel, but rather that we should put self-care in perspective. As selfcare has now become a commodity that many businesses are profiting off of, it’s essential to underscore those who can’t afford to participate in self-care at all. There are women who don’t have the time, the energy, or the money to take time for themselves every day or to spend money on a product that will let them do so. While we all may want a Manduka hot yoga mat ($92) or an aromatic alchemy set ($85), the free methods of reading a book, taking a walk, or indulging in a mindful moment probably work just as well as these expensive products.
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Conservative Fashion Channah Mayer is an Orthodox firecracker. Always dressed to the nines, the head of UVA’s Chabad house takes care to look nice before every service, class, or Jewish community event. However, you’ll never see her in a tank top. Her knees, collarbones, hair, and elbows are always covered. With flocks of tube tops wandering to and from Rugby Road, how does she keep it modest and nice? It’s not as hard as you’d think.
As the name implies, modest-wear is a new culture of dressing to conceal, even outside of the Orthodox community. Recently, popular brands have been scrambling to appeal to the women who dress modestly for cultural and religious reasons, including Muslims, Jews, and Christians. This wave is the surface of fashion’s naturally cyclical tide taking us towards flowing, long, and loose-fitting clothing. Think how less than decade ago, shocking and revealing outfits were in vogue (the Browse the racks in a high end store Kardashian’s underwear-as-outerwear and you’ll notice an emphasis on high trend, Lady Gaga’s meat dress, and necks and wrist-length sleeves. Over Rihanna’s leather-clad S&M video). the past few months, hemlines have been creeping lower and corsets are Also a few years ago, Channah would often showcased cinched over crisp, complain about a lack of variety in starched shirts on mannequins. It’s all shops. Everything was frumpy, black, thanks to the rise of something called and made her feel like an old woman. modest-wear. “Just because I’m religious,” she says,
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“doesn’t mean that I’m not trying to feel good about myself. I work out. I dress up. I want to feel like me, not a potato sack.” Today, she can shop at non-Jewish department stores for modest-wear. Reina Lewis has been instrumental in tracking this shift in fashion. A professor of cultural studies at the London College of Fashion and author of Muslim Fashion: Contemporary Style Cultures, she’s noticed that modest fashion is taking center stage these past two seasons of runway and ready-towear. Skinny jeans are rapidly growing into wide-legged, androgynous trousers à la Commes des Garçons. Nigella Lawson, British TV personality and daughter of a senior politician, stepped out in a burkini in 2016. Her choice of summer look shows that modest fashion is expanding beyond the confines of conservative religious groups.
and “a Donner party classic.” Channah didn’t approve, either. She scoffed when I showed her the screenshots. She says, “Now that’s a potato sack.” This reaction opened up a window into an unsurprising phenomenon: the significant shift in fashion towards almost aggressively conservative dressing brings up complicated feelings in women outside of religion. The Sequoia Dress doesn’t look far off from the women’s all-covering robes in A Handmaid’s Tale, a cutting commentary on society’s treatment of women.
However, there is a gap between opinions professed and how women are voting with their dollars. Conservative fashion designers and influencers of every faith are patching the holes they have spotted in the market, utilizing social media and online stores to market their brands. Examples include The Frock NYC, an orthodox However, this shift is not without Jewish fashion label, and Muslim controversy. When the NYC-based designer Hana Tajima’s hijab line in independent fashion label Creatures of collaboration with Uniqlo. Alongside Comfort released The Sequoia Dress, a major labels trying to appear “woke” $450, dun-colored, ankle-length, and to conscientious consumers in a high necked number, it became an polarizing political climate— like Nike unlikely lightning rod for social media. Pro’s recent sport hijab —it’s no wonder Writer and editor Dorree Shafrir posted that conservative fashions have made a screenshot of the dress on Twitter, their way onto shelves. encouraging thousands of responses likening the piece to “Amish-wear” Katie Krantz
the Mockumentary Charlie Flynn
making bold satirical statements regarding the music industry and global stardom. This is Spinal Tap takes advantage of the fact that the characters are fully aware that they’re being filmed. When Nigel, the band’s guitarist, shows off his special amp which “goes up to 11,” he’s clearly trying to boast not only to the director, but to the viewers as well. What makes the moment funny is then the irony that once he’s challenged with the fact that the extra notch is essentially useless, Nigel then has to nonsensically justify the boast to both. Mockumentary focuses are not just on the music industry or large-scale celebrity. Christopher Guest, one of the most important mockumentarians, focuses his films on small, fascinating worlds which otherwise may not be shown on film. Waiting for Guffman (1996) and Best in Show (2000) focus on a small town’s community theatre and the world of competitive dog shows,
Documentaries have the ability to display a truth – the good and the bad – about their subjects. Well-made documentaries can even craft narratives as compelling as those in scripted film without sacrificing authenticity. On the other hand, Mockumentaries often manage to achieve a similar feeling of authenticity despite their lack of objective reality. These largely scripted films use the follow-and-interview style common in documentaries to make fictitious worlds and scenes feel genuine and spontaneous. Although these films take many forms, the common thread that holds the genre together is satire, offered as an immersive experience. Rather than simply making a joke or comment about a certain subject, these films create worlds which are entirely characterized by these critiques. Rob Reiner’s This is Spinal Tap (1984) exemplifies this feature of mockumentaries as it follows a fictional heavy metal band trying to maintain relevance years after its prime. Rather than simply show the linear events recorded over the course of filming, This is Spinal Tap takes pauses to cover the band’s history and their fans and critics around the world. The documentary style allows for the most ridiculous aspects of the film to feel genuine and earnest, heightening the comedic aspect while simultaneously 35
often hilariously biting and satirical, they respectively. Guest’s skillfully refrain from feeling mean-spirited films display a mastery of or unnecessarily caustic. It’s clear that he one of the most crucial finds these worlds both charming and elements of the mockumentary--the absurdly amusing, he’s just looking for the individual interview. Few other genres best way to share them with the public. allow for their characters to sit down and Larry Charles’ Borat (2006) is a fascinating tell the audience exactly what they’re example of a film which blurs the lines thinking and why they’re thinking it, and between documentary and mockumentary. in Guest’s films, the characters don’t hold While the premise and main character are back. These interviews establish characters totally artificial, many of the film’s most free of their environments, allow for deep memorable scenes are almost entirely exploration of the kinds organic. In his road trip of individuals that inhabit across the United States, these films the film’s world and set up Sacha Baron Cohen, dressed create worlds hilarious moments of irony as Kazakhstan’s Borat which are and contradiction. When engages with and interviews married trainers Hamilton individuals who are rarely entirely and Meg Swan sit down to in on the joke. Because of tell the story of how they met characterized by this, the film captures and these critiques criticizes the sentiment of and fell in love, they drone almost unbearably. Their tale Americans in the late years of of meeting at Starbucks while working on the Bush administration. The result is both their Macs and ultimately bonding over hilarious and horrifying, shedding a still J. Crew and L.L. Bean catalogs is both relevant light on the state of the country. hilarious and eerily accurate; the moment Mockumentaries take many forms, each of makes abundantly clear exactly the type of which feels more innovative and exciting couple they are, it’s comically absurd that than the last, and reflects the culture of they know they’re being filmed and yet are their time. These films have the rare ability still proudly presenting themselves as they to both represent and criticize their subject want to be seen in that way. matter in one swoop. They offer a window Guest’s films also exemplify the warmth and into many different worlds, small and large, tenderness often found in mockumentaries. fake and less-fake, while simultaneously It is nearly impossible to accurately commenting on and exploring them. The display such a niche lifestyle without fully genre consistently produces films which are immersing oneself in it to have some both hilarious and fascinating, and, when appreciation for it. While these movies are done right, jaw-droppingly accurate. 36
DOUBLE EXPOSURE Models: Kelly Jiang Isaac Neal Photographers: Will Jones Michelle Miles Fashion Director: Shubs Patel Photo Assistants: Caroline Kinsela Alex Maxwell Makeup Artist: Alex Maxwell